With some exceptions, I am not generally a fan of jukebox musicals. Invariably, they suffer from a severe lack of effort and imagination, and often the book writers struggle to find ways of crowbarring well-loved songs into the narrative shape they have constructed. However, this is resolutely not the case with & Juliet as the writer David West Read (who won an Emmy for his work on the delightful sitcom Schitt’s Creek) has found the perfect vehicle for Max Martin’s songs of love, passion and self-actualisation: a re-working of the ultimate teen love story, Romeo and Juliet.
When I first studied Romeo and Juliet as a teenager, I found myself beguiled by the intense love affair that blossoms between the ill-fated couple over the course of a few days. As I’ve grown older, however, I find myself less invested in Shakespeare’s story of teenage passion and suicide; after all, why kill yourself over someone you have only known for less than a week? For this reason, I thoroughly enjoyed the premise of & Juliet, which sees Shakespeare’s titular heroine refusing to end it all when faced with Romeo’s corpse and opting instead to embark on a voyage of self-discovery.
Jubilantly feminist in its approach, & Juliet imagines how the play might have ended if Shakespeare’s neglected wife had got her hands on it. This provides a clever and pleasingly postmodern frame narrative in which we see the action of the original play change course in response to amendments made by Anne Hathaway (Lara Denning) and her famously absent husband, Shakespeare (Matt Cardle), with the help of a magical quill.
Musically, I found the show irresistible. I had never heard of the Swedish songwriter-producer Max Martin beforehand, but having watched & Juliet, I now know that he is responsible for crafting some of the most deliriously catchy pop songs of the past thirty years (“…Baby One More Time”, “Since U Been Gone” and “I Kissed a Girl”). At times, the musical numbers are genuinely euphoric, such as Juliet’s (Gerardine Sacdalan) explosive rendition of “Roar”. Furthermore, Read does an admirable job of integrating the songs into the narrative in a way that makes narrative and thematic sense.
Once the initial sugar rush of the production had worn away, it occurred to me that there were times where the book might have benefited from additional connective tissue between the songs, but this was not a big issue considering the excellent quality of the singing and musicianship.
Gerardine Sacdalan, a recent drama school graduate, soars in the title role, capturing Juliet’s winning mixture of strength and vulnerability. In addition to her powerful voice, she also brings considerable energy and charisma to the part.
Sacdalan’s Juliet is ably supported by Sandra Marvin as her warm-hearted nurse, Angeliqué, who combines killer comic instinct with extraordinary vocal control. Jordan Broatch gives a sweet and poignant performance as Juliet’s non-binary friend May, and they are nicely matched by Kyle Cox as François, May’s love interest, who also struggles with their identity.
Ranj Singh—best-known for his work as a real-life doctor on daytime TV—gives a game performance as Lance, the nurse’s suitor, and there is a pleasingly funny turn from Jack Danson as a clueless, self-absorbed playboy version of Romeo brought back from the dead.
Matt Cardle may be best remembered for winning The X Factor in 2010, but his enjoyable portrayal as Shakespeare—here imagined as an unmitigated egotist, albeit a charming one—indicates that his talents stretch beyond having an impressive set of pipes. Furthermore, he makes a terrific double act with the superb Lara Denning, who clearly relishes the part of Anne. Shakespeare’s wife is often presented in popular culture as a long-suffering bore, so it was enormous fun to see her reimagined in such a playful and colourful way.
With its emphasis on young love—not to mention female independence and queer joy—& Juliet is very much aimed at a younger audience. This is amply reflected in Paloma Young’s eye-catching costumes, which marry Elizabethan style (doublets and corsets) with contemporary fashion (ripped denim and sneakers). Furthermore, Jennifer Weber’s kinetic choreography fuses hip-hop with traditional musical theatre dance moves to great effect.
& Juliet’s director Luke Sheppard has spoken of being influenced by live arena concerts, and this production manages to capture the energy and excitement that is often generated at these events.
Bright, bold and as subtle as a sledgehammer, I spent the entire running time of & Juliet with a manic grin plastered across my face.