& Juliet
Milton Keynes Theatre
31st March 2025
‘Max Martin’ probably isn’t a name that many people instantly recognise, but in reality it’s pretty much guaranteed that you’re already aware of his work. The producer and writer of a mammoth number of hit songs over the last three decades, Martin is a huge driving force behind the careers of global acts including Backstreet Boys, Britney Spears, Pink and Katy Perry, among countless others. Seeing the theatrical potential in this catalogue of iconic bangers, ‘Schitt’s Creek’ writer David West Read was enlisted to put a new spin on one of Shakespeare’s most famous plays, and so, ‘& Juliet’ was born. Star-crossed lovers and 90s boybands may not seem the most obvious pairing at first, but ‘& Juliet’ made it work, gaining an adoring fandom in its Manchester and London runs. A UK tour kicked off in autumn 2024, which continues to bring this uplifting dose of power-pop to the regions, playing this week at Milton Keynes Theatre.
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 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.
A true collision of worlds and styles, ‘& Juliet’ really should not work and sounds like a terrible idea, mashing up Shakespeare with Kelly Clarkson, N’Sync and Celine Dion. But in a rare exception to those jukebox musicals that shamelessly shoe-horn the songs in without much thought, ‘& Juliet’s creators have carefully plotted how to fit these songs into a narrative that entertains and engages, and the results are an absolute joyfest. The song choices are undeniably great pop anthems in their own right, 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’s creation feels brilliantly British in its humour, with a clever, witty book packed with great lines and shades of pantomime creeping in occasionally (in a good way). The concept and pop-score might initially suggest a fluffy piece of popcorn theatre, and while it’s indeniably fun, numerous timely themes run through the story which giving the show a weightier punch. Juliet’s journey for female empowerment and self confidence is a joy to watch, and May’s search for gender identity is beautifully handled. The whole production is filled with a feeling of warmth and positivity that a great night out is guaranteed.
Director Luke Sheppard once again brings his flair for slick movement and eye-catching visuals, 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 Jay McGuiness, who succeeds Matt Cardle in the role. McGuiness does well enough, but 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. 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, clearly enjoying the exaggerated French accent and making a strong comic foil for Sandra Marvin’s brilliant Angelique. Newcomer Gerardine Sacdalan continues to lead the show brilliantly, polished beyond her years and bringing us a strong and feisty Juliet while tackling the show’s big sing. But it’s Lara Denning who steals the show as Anne, a delightful combination of funny and moving, and leaving her heart on the floor at the end of the Celine Dion belter “That’s The Way It Is”.
Calling ‘& Juliet’ a jukebox musical does it a strong disservice, as it’s so much more than that. One of the best British productions of recent years, the show is powerful punchy pop backed up by a great script and layered characters. Feel-good theatre at its best.
The Press Night performance was followed by a post-show Q&A, which was an ATG+ Members event. Members can enjoy additional events such as these, along with a variety of discounts and other perks, across the range of ATG venues . More details of the ATG membership scheme can be found here – www.atgtickets.com/membership.
‘& Juliet’ runs at the Milton Keynes Theatre until Saturday 12th April 2025, before continuing on its UK tour.
Performance runtime 2 hours 30 minutes including interval.
