& JULIET at Eccles Spectacularly Flips Shakespeare’s Script

SALT LAKE CITY – The latest Broadway production to grace the stage at the Eccles Theatre is & Juliet, a retelling of the timeless Shakespeare tragedy, Romeo & Juliet. With book by Emmy-winner David West Read and music and lyrics by Max Martin and Friends, & Juliet is a high energy, coming-of-age experience filled with laughter, nostalgia with occasional moments of depth.

If one were to attend & Juliet without prior knowledge of the production, the mood of the night would quickly be evident upon entering the Delta Performance Hall. Instrumental arrangements of familiar music echoed throughout. The set was visible with an apparently broken Romeo & Juliet sign placed center stage, with & Juliet prominently upright and the letters r, o, m, e, o strategically scattered about the stage floor. Upon further reflection, a jukebox is off to the side and a large projection with an illustration featuring street names in London sits above the stage as well as draped around the upper balcony seats. Overall, the pre-show sights and sounds elevated the anticipation for the performance.

& Juliet begins with a dramatic entrance, by way of Backstreet Boys’ smash hit “Larger Than Life”, for William Shakespeare (Cory Mach). Shakespeare is sharing the ending of his most recent play Romeo & Juliet with his wife Anne (Shelby Griswold). Anne admonishes her husband’s decision to kill the star-crossed lovers and soon wonders: what if Juliet didn’t die? Not pleased with his wife’s reaction, Shakespeare nevertheless entertains the idea of a new ending; thus, catapulting the audience into a world where Juliet continues her life without Romeo, all told through iconic anthems featuring Kelly Clarkson’s “Since U Been Gone”, Britney Spears’s “Oops…I Did it Again” and Bon Jovi’s “It’s My Life”.

Under the direction of Luke Sheppard, & Juliet provided strong performances from the principal cast. As Juliet, Rachel Simone Webb commanded the stage with her powerful vocals while also conveying a sense of vulnerability within Juliet that is no doubt present in anyone who is on the path of self-discovery. While Webb’s talent was brilliant and consistent throughout, her rendition of “Roar” is where she shined brightest, providing a moment in the theatre I won’t soon forget.

Griswold as Anne was a favorite of the night, and she easily won me over with her wit and sarcasm; however, the depth and exposure she brought to Anne was equally impressive and important, most notably during her performance “That’s The Way It Is”. Griswold’s portrayal cemented & Juliet’s reputation as not only a jukebox musical, but one with characters experiencing true, relatable human emotions.

& Juliet plays at the Eccles Theatre through June 22.

Playing May, Juliet’s non-binary friend, Nick Drake brought another level of depth to the production. Liberating was the realization that May was not the one-dimensional, stereotypical gay best friend, but rather one of complexity. Drake expertly conveyed this sense of longing for understanding and inclusion with their performance of “I’m Not a Girl, Not Yet a Woman” with stunning vocals and delicacy unique to the production.

While Romeo & Juliet is certainly Shakespeare’s most popular tragedy, & Juliet flipped the script as a legitimate comedy with jokes, puns and quick wit throughout. Providing much of the comedic relief was Mach (mentioned above as Shakespeare), Francisco Thurston as Lance, Michael Canu as Romeo and Mateus Leite Cardoso as François. One particular, hilarious moment was the show’s ode to The Boy Band with Mach, Thurston, Canu, Cardoso and Drake singing Backstreet Boys’ “Everybody” while adorned in matching, sparkling silver costumes designed by Paloma Young.

The technical aspects of & Juliet were executed with precision and exactness. Specifically, lighting design by Howard Hudson, sound design by Gareth Owen and video and projection design by Andrzej Goulding were primary reasons for the success of the performance. The level of detail with each of these technicalities helped sustain the excitement in the room, keeping me on my toes the entire evening. Additionally, in an age where many theatre productions have minimal set designs, & Juliet was a breath of fresh air with beautifully ornate set pieces designed by Soutra Gilmour that blended well with the video and projections.

Despite its many strengths, & Juliet was not without it’s flaws. The singing was not always in sync (pun intended), with the actors occasionally dragging behind the beat during the “Domino” scene. While noticeable, these hiccups did not distract from the overall quality of the performance and can easily be rectified.

Perhaps the biggest disappointment of the production was the choreography by Jennifer Weber. I was repeatedly underwhelmed by the simplicity, often repetitive nature of the dancing, especially during the numbers with the entire ensemble. It seemed as though the actors were capable of more and I kept waiting for a more lively, energetic experience. The choreography seemed to improve in scenes with less actors. For example, during “Teenage Dream/Break Free” with Thurston and Naima Alakham as Angélique, Juliet’s nurse, seemed more aligned with the goal of the production. It was fast-paced, detailed and exciting.

& Juliet is a refreshing, exciting, visually stunning production. With an added layer of depth in story and character, this jukebox musical has earned a seat at the table of quality craftsmanship. Whether you are a seasoned patron or new to the theatre scene, & Juliet is worth your time.

These reviews are made possible by a grant from the Salt Lake County Zoo, Arts, and Parks program.