The what if scenario is surely the stock and trade of any writer’s craft. And how well it as been employed in the David West Read’s & Juliet. What if, after waking up from her potion induced slumber and seeing Romeo lying dead beside her, Juliet does not stab herself ton death, but chooses to deal with the grief, and then make a new life for herself? What if her brought back to the stage the Bard himself but also brought to the stage his wife Anne Hathaway who prompts him to ‘kill’ the tragic ending, and for therm to together, Anne fancies herself as a bit of a writer, come up with a different spin on Shakespeare’s most famous love story.
What ensues is a ripping yarn with plenty of thematic overlay. In a sense, it is if Read has taken the play the 16th century play and hurtled it into 2025, now., with its portraits of independent woman, irreverent humour, and a much more inclusive approach to gender and sexuality. More than likely the Bard, being a man of his time, would have approved.
Together with a great yarn, the show features a superb soundtrack of songs written by a pop composer, Max Martin, whom I had never heard of before.The reason is that celebrated artists have taken his songs and made big hits out of them. This actually is not such a thing to happen.
It pays to remember Carol King was a great pop composer with a number of big hits until James Taylor persuaded her to start singing her songs herself Martin, obviously, did not have a voice that could could be relied on. Anyhow, you will be familiar with a lot of the songs, They are love songs, well they are pop songs, and, after all, it is postmodern Romeo and Juliet.
The show has good production values, obviously bearing in mind that this independent theatre company does not have anywhere near the budget of the Michael Cassel production. The set features a very effective revolve, a back media wall for all the digital images theatre used throughout the production, and many props that are brought in and off the stage. A great lighting was a highlight.
The credited creatives are co-directors and co- musical directors are Rodrigo Medina Noel and William Pulley, associate musical director Ziv Pinco, choreography by Janina Hamerlock, lighting by Jeremy Cardew and Latarka, sound design by Oliver Brighton, vision designers Hayley Cantrill and William. Pulley, costumes by Erica Williams and Lilli Clifton.
& JULIET is well performed by the cast. They were talented, exuberant, triple threat cast. For those whose voices weren’t quite up to scratch, there was a vocal booth of six singers in a vocal booth who ‘stepped into the breach’. choreography was good, as were the costumes.
The performances of the cast ‘rang true’. As Juliet, Jade Lee was excellent as she transformed from a vulnerable, lovesick young woman to a strong, independent young woman. Baxter Waller impressively played Romeo who comes back to life in Act2 and has a lot to learn!
The playful chemistry between a very lively Ben James as Shakespeare and a very wilful and, perhaps calculating at times, Anne Hathaway played by Marika Zorlu, who had a strong stage presence and a striking, powerful voice. The playwright cleverly overlays Juliet’s journey with a parallel journey in the sometimes fraught relationship between Shakespeare and Hathaway.
Annette Vitetta plays the role of Angelique well. Angelique is Juliet’s nurse, a more contemporary nurse than in the Bard’s original play who also her own interests and even has a romantic tryst.
Juliet’s non-binary best friend May was well played by Daniel Timmins.
As Francois Du Bois, Ryan McLean impressed in a highly emotionally charged role, A young man just starting to find himself in the world, he is under a lot of pressure from his father, Lance, well played by Brad Clarke, a conservative nobleman who wants his son married, and set for life. To add to this, Francois’ romantic affections are torn between Juliet and May.
As Juliet’s mother Lady Capulet, Emilie Woods plays a more feisty, liberated woman than Shakespeare originally wrote her. She is a lighter presence; flirtatious and at times mischievous. Woods also plays Nell.
Michael Clews impresses as Juliet’s conservative, old Verona world father Lord Capulet who finds Juliet’s independent will too difficult to deal with.. Clews also plays another very youthful spirit, Fly. A fine ensemble cast capably cover the other roles.
As the tagline in the program goes, the only tragedy about this play is if you miss it. There is still some time to see this fine show. A Paca Production, & JULIET, book by David West Read, music and lyrics by Max Martin , the show is playing until the 19th October 2025..
Production photos bt Grant Leslie Photography
