& Juliet – Curve Leicester and Touring

& Juliet was reviewed at Curve Leicester where it continues until 22 February 2025. The tour continues until 28 June 2025.

Star rating: five stars ★ ★ ★ ★ ★

Boybands from the 1990s 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.

Seeing the theatrical potential in songwriter Max Martin’s 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. A UK tour commenced late last year and now a recent cast change sees a few new faces bringing this uplifting show to your doorstep, playing this week at Curve Leicester.

It’s the late 1590s, and successful playwright William Shakespeare (played by Jay McGuiness) 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 Sacdalan) 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 (covered 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.

& Juliet sounds like a terrible idea and really should not work, mashing up Shakespeare with *NSYNC and Britney Spears. 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.

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. 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.  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 16th 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.

Cast changes midway through the tour have given us a new Shakespeare in McGuiness, who succeeds Matt Cardle in the role. Though competent enough, he doesn’t quite hit the vocal levels of Cardle or role-originator Oliver Tompsett, and the inherent comedy in the role doesn’t quite land either. But it’s early days and he’s bound to get stronger as the run goes on.

Newcomer Sacdalan is polished beyond her years and will certainly have a great career in the industry, delivering a strong and feisty Juliet while tackling the show’s big sing. Lee Latchford-Evans (of Steps fame) has taken over from Dr Ranj as Lance, and proves himself more than just one of the foot-stepping five and gives a confident theatrical performance. He’s clearly enjoying the exaggerated French accent and makes a strong comic foil for Marvin’s brilliant Angelique.

But it’s Denning who steals the show as Anne, a delightful combination of funny and moving. She absolutely leaves her heart on the floor at the end of the belting ‘That’s the Way It Is’ and gives the show a real emotional punch.

So much more than just a great jukebox musical, and a brilliant night out, & Juliet is one of the best British productions of recent years. Packed with powerful punchy pop and backed up by layered characters and a great script, the show reinvents the jukebox musical and shows how well they can really work. Feel-good theatre at its best.

Rob Bartley