I have developed a pet peeve for noticeably contrived musicals; 80s films that have been coldly and mechanically revised into flashy West End shows then marched out on tour can more often than not feel like less than the sum of their parts. Granted & Juliet, which plays at the New Theatre this week until Saturday, IS an original story (beyond its obvious Shakespearean inspiration) but I arrived preternaturally wary, and weary, of the artifice and sentimentality I suspected awaited me. I’m happy to say I couldn’t have been proven more wrong.
This jukebox musical is not only aware of its absurdity, it absolutely revels in it. The elevator pitch - what if Juliet lived? - is made possible by Will Shakespeare himself being made a character. He’s just putting the finishing touches on his latest tragedy, Romeo and Juliet, when his wife Anne Hathaway steps in and convinces him to let her rewrite the ending. Naturally, she also writes herself into the story, as does Shakespeare, and their resulting tale makes up the plot of the musical.
The music is composed of pop songs co-written by Swedish pop producer Max Martin, a figure responsible for dozens of the biggest songs of the last 25 years, from boy bands like NSYNC and Backstreet Boys to pop idols like Katy Perry and P!nk. Martin also served as a producer on & Juliet, and this is apparent in the ingenious ways the lyrics are used to convey new meanings.
“I Want It That Way” becomes about artistic integrity. “Not a Girl, Not Yet a Woman” becomes about a non binary character’s journey of self discovery and desire. The opening of “Problem” by Ariana Grande becomes an ethereal, haunting moment of regret. The show truly sets itself apart from other jukebox musicals in the way the songs feel fully integrated with the surrounding story.
The costuming is an absolute delight as well, mixing period pieces with youthful modern clothing like crop tops and trainers. And the set feels fittingly ornate but unobtrusive; everything is in rich, jewel tones and a girly vintage style. It’s very appealing and there’s a satisfying sense of cohesion across the whole production.
The book, written by David West Read, clearly has a great respect for its source material; quotes from the original play are used subtly but brilliantly throughout. In Juliet, the story also manages to capture the same teenage recklessness and hope as Shakespeare’s tragedy.
But the performers are what makes this production truly shine. Lara Denning as Anne Hathaway was an absolute standout in a very talented cast: her sheer charisma got the biggest laughs of the night, and her energy was infectious. Geraldine Sacdalan’s Juliet was also excellent, with a soaring yet delicate voice and a likeable brashness. Elsewhere Jordan Broatch was compelling as Juliet’s best friend May, and Matt Cradle gave us a joyously sarcastic, spirited Will Shakespeare.
In short: an impressive level of detail, warmth and originality absolutely shines through this wonderful production. If you’re in the mood for something uplifting without being smarmy, silly without being vapid, and moving without being taxing, then I’d highly, highly recommend this show.