& Juliet UK Tour Review (Curve Theatre, Leicester)

22 February 2025 I 14:15 I Curve Theatre, Leicester

⭐⭐⭐⭐⭐

With a jukebox musical score comprising of Max Martin's global hits, & Juliet is a phenomenon of 21st-century theatre. Returning for my second watch after a five year wait, this immensely uplifting show prioritises not only epic pop tunes, but also an admirable vigour through womanhood and gender nonconformity. The performance features subtle changes from London's Shaftesbury Theatre run in order to successfully tour, where scenes have been adapted though remain punchy and dynamic.

Reclaiming Shakespeare's tragic tale of Romeo & Juliet, David West Read's book grants the playwright's wife Anne Hathaway a voice, imagining a narrative where Juliet doesn't take her life for Romeo. With characters both familiar and new, audiences are gifted the chance to explore queer joy and the courage to love oneself. With an honest inclusivity, both through race and gender identity, an originally heteronormative, male-led story is transformed into a product of contemporary love.

This afternoon held a treat for casting, with Psalms-Nissi Myers-Reid and Liam Morris portraying the star-crossed lovers as alternate Juliet and first cover Romeo. Despite complicated love triangles, the pair achieve pure brilliance. The first word that comes to mind when describing Myers-Reid is iconic! She acts the score with such a delicate beauty, whilst performing the ultimate powerhouse. For younger audiences, I cannot begin to imagine how inspirational her role is! Her voice deserves to by heard by the millions! Equally with Morris' Romeo, his cheeky boyish personality lends itself to a humorous yet heartfelt rendition.

The musicality and flow of this production is impressive, a jukebox score complimenting the narrative and audibly effortless. These well-known recordings aren't simply regurgitated, but they are tonally adapted by Bill Sherman to consider authentic states of emotion.

As this alternate story plays out, meddling lovers Shakespeare and Anne (in an unfortunate parable to their own lives) fight for the voice to dictate Juliet's future. Often interjecting in transitions, The Wanted vocalist Jay McGuinness is an impudent yet tremendously likeable bard, placing the perfect level of confidence. Frequent Shakespearian references are charming and well-received for an audience of all ages.

Opening with a pre-show sequence that actively engages with the audience, to the monumental Larger Than Life, these initial minutes bring a tear to my eye due to sheer brilliance. & Juliet knows its identity as a musical, exactly what it wants to be in regards to Luke Sheppard's vision. Each number attempts to outdo the previous, with Jennifer Weber's ambitious choreography creating an endless catalogue of showstoppers. And as a swing, credit to Toni Paise's energy and presence which is so infectious!

It is enchanting to see Lara Denning steal the show as Anne Hathaway. She has the audience in the palm of her hand, erupting into bursts of laughter and an applause that I feared would never end following That's The Way It Is! Despite being a conventionally older cast member, her youthful and matriarchal spirit is so refreshing. Those moments are once-in-a-lifetime, and I sincerely believe that Denning should be a household name.

In supporting roles, Sandra Marvin maintains her legendary status with a stage talent that cannot be rivalled. She exudes an innate theatricality that is always spot-on. And Steps' Lee Latchford-Evans has a surprisingly good French accent as Lance, an admirable swagger to his character, allowing the pair to be utterly hysterical.

Finally, Kyle Cox and Jordan Broatch as François and May deliver a queer love story that isn't often represented in mainstream theatre or television. Witnessing a nonbinary-trans romance is so crucial to see on a national stage, especially regarding political climates.

While & Juliet has an extremely important social message, you can relax in the comfort of one of the most polished, hard-working ensembles that theatre has ever known. From Paloma Young's punky Renaissance costuming to Soutra Gilmour's functionally exciting set, the show's aesthetics marry in the greatest possible sense. The best new musical of our generation, a London return is long overdue!!