& Juliet – Wolverhampton Grand Theatre

The name ‘Max Martin’ doesn’t immediately ring a lot of bells for most people, but the chances are you actually know him pretty well.  Martin is the writer and producer of a mammoth number of hit songs over the last three decades and is a huge driving force behind the careers of global acts including Britney Spears, Katy Perry, Backstreet Boys, Pink and countless others.  Seeing the theatrical potential in this catalogue of iconic bangers, ‘Schitt’s Creek’ writer David West Read was enlisted to adapt one of William Shakespeare’s most famous plays, and so, ‘& Juliet’ was born.  90s boybands and star-crossed lovers may not seem the most obvious pairing at first, but ‘& Juliet’ made it work, gaining an adoring fandom in its Manchester and London runs.  Now it’s the turn of the regions, as a UK tour is bringing this uplifting show to your doorstep, playing this week at the Wolverhampton Grand.

It’s the late 1590s, and successful playwright William Shakespeare (played by Matt Cardle) is revelling in finishing his latest work, ‘Romeo & Juliet’.  On revealing the play’s tragic ending, his wife Anne (Lara Denning) tells him it’s rubbish, and that it would be far better for Juliet (Gerardine Sacladan) to survive and carve out a new life for herself.  Shakespeare reluctantly agrees to his wife’s suggestion, and the two begin to rewrite the story, with Juliet mourning the death of her beloved Romeo (understudied on Press Night by Liam Morris) and running off to Paris with best friend May (Jordan Broatch) and her dear nurse Angelique (Sandra Marvin) to see what the rest of the world has to offer.  Shakespeare and Anne take turns with the writer’s quill, and the story twists along with it, bringing up feelings and secrets from the past, along with a few surprises.

On paper, ‘& Juliet’ really should not work and sounds like a terrible idea, mashing up Shakespeare with N’Sync and Kesha.  But in a rare exception to the normal shoe-horning tactics of jukebox musicals, ‘& Juliet’s creators have actually thought about how to fit these songs into a narrative that engages and entertains, and the results are an absolute blast.  We already knew how good these songs were but hearing them remixed and rearranged (in some brilliant orchestrations by Bill Sherman) and moulded around likeable characters who the audience genuinely care about is superbly done with a deft comic touch and real heart.  Canadian writer David West Read has created something brilliantly British in its humour, with shades of pantomime creeping in occasionally (in a good way) and a clever, witty book packed with great lines.  A lot of timely themes run through the story, giving the show a weightier punch than its subject and score might initially suggest; May’s search for gender identity is beautifully handled, and Juliet’s journey for female empowerment and self-confidence is a joy to watch.  It’s all done with such positivity and warmth that a great night out is guaranteed.

Director Luke Sheppard’s flair for slick movement and eye-catching visuals is in evidence again, his bright bold aesthetic and playful tone that were established in the show’s earlier phases being still very much front and centre.  The production loses little in its adaptation for touring, other than the revolve which is no longer used, and not really missed aside from a couple of the larger ensemble numbers.  Soutra Gilmour’s set and Howard Hudson’s lighting still look great, giving the show its unique look and creating plenty of fantastic visuals, enriched by Paloma Young’s costumes which brilliantly blend a modern youthfulness with 16^th century styles.  The show also features some of the best choreography you’ll see on the road right now, created by Jennifer Weber, and performed by a dynamic ensemble who pack their numbers with attitude, energy and precision.

The original cast who blueprinted these roles were undeniably brilliant, and stepping into any of their shoes would be no easy task, but these new recruits do a fantastic job.  Matt Cardle puts his best “cheeky chappie” persona to great use and is full of charm, it’s a shame he doesn’t get one big solo to really show off those pipes, but he sounds great throughout.   Lara Denning is a delightful knockout as Anne, funny and moving, and leaves her heart on the floor at the end of the belting “That’s The Way It Is”, giving former-Anne Cassidy Janson a run for her money.  Newcomer Gerardine Sacdalan demonstrates why she’s got a great career ahead of her and gives us a feisty strong Juliet while tackling no small number of big notes and delivering them all.  The casting of Dr Ranj initially seemed a somewhat risky move, but he does well as Lance, milking the ‘Allo Allo’ French accent for all it’s worth and making a strong comic foil for Sandra Marvin’s brilliant Angelique.  We also need to make special mention of Liam Morris, who went from his regular ensemble track to taking over as Romeo at the start of Act 2 and did a fantastic job.  It was a great reminder of the skill, versatility and adaptability of swings, understudies and alternates and how vital they are in keeping our theatre industry going.

‘& Juliet’ isn’t just a great jukebox musical, it’s also one of the best British productions of recent years.  Powerful punchy pop backed up by a great script and layered characters, it really is feel-good theatre at its best.

‘& Juliet’ runs at the Wolverhampton Grand Theatre until Saturday 12th October 2024, before continuing on its UK tour. https://www.grandtheatre.co.uk/whats-on/juliet/

Reviewer:  Rob Bartley

Reviewed: 7th October 2024

North West End UK Rating: