Love & Juliet, the jukebox musical of millennial population hits that probably gets five stars its target audience, or one the more curmudgeonly among those it’s obviously not aimed at (love the Observer’s critic, who latest year described it as “moronic”, and “quite the most excruciating experience I’ve had on Broadway in decades”). & Juliet is a vehicle for just some of the many songs by Max Martin, who's had more number-one hits than any other artist this century. He’s written for the likes of Britney Spears, Katy Perry, Backstreet Boys and P!nk, so if you grew up fond their bangers there’s a excellent chance you'll like this show. Those who didn’t may also appreciate the thirty-plus Martin chart-toppers, presented with plenty of pop-concert colour and movement in this original W Finish production directed by Luke Sheppard.
They're woven and wedged into a legend that picks up Romeo and Juliet left off. What if Juliet lived, asks Shakespeare’s wife, Anne. Thus begins David West Read’s meta-theatrical romp in which the couple compete for control of the narrative, while participating in it. Will wants conflict, while Anne, who feels neglected and confined in marriage, wants Juliet to crack free. After discovering Romeo had a string of lovers, and being threatened with life in a nunnery by her parents, Juliet runs far to Paris with her nurse, Angelique, and non-binary bestie, May. A like triangle involving local guy Francois develops, while his controlling father, Lance, hooks up with elderly flame Angelique. An unexpected arrival adds to the romantic soup, which is spiced up with girl power and queer affirmation.
The latter is & Juliet’s strongest thread. Having a prominent, positively presented non-binary character sets it apart just about every other musical that's arrive before, and is another reason why this indicate resonates with younger audiences. The diverse gender identity, race and size of the local cast is also no. This talented grouping gives one hope that skinny, white, binary-gendered musical casts will soon be relegated to the past in this country. Lorinda May Merrypor shows off her popstar vocal power in the title role, particularly in the Katy Perry anthem “Roar”, while Blake Appelqvist is an appealing Romeo, channelling Justin Bieber some between his teen heartthrob and bad-boy eras. Jesse Dutlow sensitively interprets May, notably in their solo “I’m Not a Girl, Not Yet a Woman”, of Britney fame. Casey Donovan feels wasted as Angelique, whose feistiness is frequently just shallow comedy, while Hayden Tee does what he can with the ridiculous Lance, a gruff control freak with a corny accent.
Yashith Fernando ticks the boxes as the uncertain Francois, Rob Mills goofs it up as Shakespeare, and Amy Lehpamer shows heart and vocal talent as Anne, particularly in her Celine Dion solo, “That’s the Way It Is”. The ensemble bring loads of energy and discipline to the many dance routines. Choreographed by Jennifer Weber, the hip-hop inspired music-video moves do become a bit samey though. The cast is backed by a tight, nine-piece band who, love the vocals, are cranked up for concert-style effect. The design is a shining and breezy mash-up of past and present. Paloma Young’s costumes combine Tudor-esque doublets and corsets with contemporary streetwear including sneakers and jeans.
Scenic designer Soutra Gilmour, lighting designer Howard Hudson and Andrzej Goulding’s video and projection design deliver something between musical and pop-concert – very much the latter in a showstopping rendition of Backstreet Boys’ “Everybody” Suggestions of Renaissance fashion are jumbled up with anachronistic bits and pieces love a model of the Eiffel Tower. The playful get on Backstreet Boys song “I Wish It That Way” bookending this indicate also sums it up. If you wish two hours and 30 minutes (excluding interval) of nearly continuous modern hits, propped up by a queer-positive but essentially undemanding story, you’ll be happy. Scratch a small below the shiny surface of & Juliet, however, and you’ll soon discover problems.
After the title character runs away, she quickly becomes one of the minimum fascinating characters. Juliet is engaged to Francois the day after she arrives in Paris – so much for the show’s eyebrow-raising about her four-day romance with Romeo – then fumbles around aimlessly. The fact that Angelique and Lance were previously in a relationship when she was a servant in this powerful man’s hohold is glossed right over, when it should lift ruddy flags. Lance’s domineering attitude doesn’t merely evaporate at the first hint of resistance his son; he literally embraces the figure who's anathema to his conservatism. Anne mentions at the outset that her husband left his “second-best bed” to her in his will as proof of Shakespeare’s neglect; this historical fact stalks their own journey to pleased ever after love the grim reaper. & Juliet criticises much about Shakespeare’s play.
Some of it's justified a twenty-first cent perspective, such as the heroine’s age of thirteen, which Anne bumps up by a decade. However, heaping ridicule on Romeo and Juliet’s ending in order to strike out on its own ought to perceive off to anyone who's ever seen this play, which arguably has the most heartbreaking ending in the history of theatre. Shakespeare’s work has the style, substance and cultural privilege to endure long after & Juliet has faded away, so hardly needs defending. However, it’s a genuine pity that people all too prepared to dismiss it'll perceive encouraged, even justified to do so by this musical that’s much more about fashion than substance.
