The UK tour of & Juliet at The Curve is a vibrant and exhilarating reinvention of Shakespeare’s Romeo & Juliet, bursting with energy, humour, and anthemic pop hits. This jukebox musical reimagines Juliet’s fate, exploring what would happen if she took control of her own story rather than meet her tragic end. The twist? Shakespeare’s wife, Anne Hathaway (Lara Denning), takes charge, questioning her husband’s original narrative and inserting herself into the rewriting process. Their married banter provides a sharp and often hilarious contrast, with Anne’s exasperation over Will’s storytelling choices.
Former The Wanted star Jay McGuiness brings a playful charm and infectious energy to Shakespeare, making the character both mischievous and engaging. Jordan Broatch delivers a heartfelt performance as May, commanding the stage with their presence, while Kyle Cox shines as Francois, with a relatable struggle for self-confidence. The development of May and Francois’ relationship is portrayed with sincerity and depth, a testament to the chemistry and skill of both actors.
Usually portrayed by Jack Danson, Romeo was played at this performance by Liam Morris, who brought an irresistible mix of forlorn and charm to the role, making the character all the more lovable.
Max Martin’s greatest hits serve as the musical backbone, skillfully reworked to fit this unconventional context. While some of the song placements feel a little tenuous, the sheer joy of Juliet (Gerardine Sacdalan) bursting into Britney Spears mid-scene makes it easy to overlook. The arrangements cleverly transform familiar lyrics into something fresh, with Juliet’s rendition of “Since U Been Gone” turning the pop hit into a raw, emotive declaration of independence. Nurse Angelique’s (Sandra Marvin) powerhouse performance of “Fuckin’ Perfect” is another standout moment, delivering a spine-tingling ballad that hits all the right emotional notes.
The production doesn’t hold back on spectacle. Soutra Gilmour’s set is gloriously garish, dominated by vibrant pink hues, a carousel horse with the number plate “2BN2B,” and nods to Shakespeare woven throughout. Even on tour, there’s no compromise on scale—the Renaissance Ball is still the ultimate party, complete with confetti cannons and a chandelier ready to be swung from. Paloma Young’s costumes mix contemporary trainers and denim with Tudor-inspired ruffles and corsets, mirroring the fusion of old and new that defines the show. The 10-strong ensemble fills the stage with energy, turning every group number into a dazzling spectacle. Jennifer Weber’s hip-hop fusion choreography is high-energy and playful, with West Side Story-esque dance battles that make it almost impossible to stay seated.
It’s a performance that demands full commitment from the cast, and they more than deliver. With pop-heavy backgrounds—including former members of The Wanted and Steps—the vocal performances are top-tier, every song hitting with the same intensity as the original chart-toppers.
The music pumps at full volume but is so well-balanced that, for once, every lyric is crystal clear. Despite its inherently silly premise, the show pulls audiences in emotionally, making them truly invest in Juliet’s journey and Anne Hathaway’s long-overdue chance to voice her frustrations with her husband’s work.
& Juliet is a wild, joyful, and utterly infectious celebration of rewriting your own story. It’s impossible not to get swept up in its glittering, confetti-filled world, where Shakespeare meets pop in the most unexpected and delightful way.
At The Curve until 22nd February 2025.
Katie Reviews 