Review: & JULIET at The Kennedy Center

These what-if scenarios can often make for fascinating hypotheticals, especially with popular works of art. What if Macbeth hadn’t listened to the witches? What if Katniss hadn’t volunteered? What if Bilbo had stayed home? What if Juliet, barely fourteen, had awoken in the crypt to find her husband dead beside her and hadn’t decided to end her life over a four-day relationship that had already resulted in far more death than anyone so young should see?

Written by David West Read, best known for his work as a writer and producer for the beloved Schitt’s Creek, and featuring songs by the prolific music producer, Max Martin, & Juliet explores Juliet’s life after Romeo’s death when Shakespeare’s wife, Anne Hathaway, objects to the original ending. Spared from the dagger, Juliet flees Verona with her nurse and their friends for a new life in Paris, where they explore the chance to make their own way, free of the expectations and duties that previously controlled them.

& Juliet, which launched its National Tour earlier this fall and opened at the Kennedy Center just ahead of the holidays, is often billed as a “Gen Z” approach to Shakespeare. But, with all due respect to my younger contemporaries, since I saw and fell in love with this show on Broadway in 2023, I’ve always felt that description does the show a disservice. While there are strong elements reflective of Gen Z and modern times – including stylistic influences on clothing, props, and language – most people assume this means a “yassified” version of Juliet, a shallow girl-boss who uses modern perspectives to provide heavy-handed critiques on Shakespeare’s works. The fact that this is a jukebox musical, relying on modern pop music (though, in fairness, most of Martin’s hits span Millennial tastes as much as, if not more than, Gen Z), only furthers that impression. But, in truth, what makes & Juliet so wonderful is that it neatly sidesteps these assumptions and brings something far more interesting.

 

A better way to describe & Juliet is that it’s a take on Shakespeare written and performed by people who love and respect Shakespeare – but also understand it well enough to know that the Bard’s works are heavily littered with puns and crass jokes. It’s a show that’s playful and bubbly, but it’s also much smarter and more thoughtful than it appears on the surface. There’s a respect without uncritical reverence, and this exploration of Juliet without Romeo, without the constraints of her era and status while still holding true to the themes that make Shakespeare’s works so enduring, brings a fresh perspective without feeling forced or solipsistic. It’s clear that the writers hold a deep care and appreciation of Shakespeare’s work, but are also thinking of it within our modern context as well – when Anne introduces a nonbinary character, May, she quickly silences any questions about May’s inclusion by pointing out that Shakespeare’s plays famously challenge the gender binary, often delving into cross-dressing and oppositions to gender norms. There are puns and references to Shakespeare’s works throughout the script, and even a few long-term gags reminiscent of the Bard’s own. Even the broader familiar beats – tragedies, weddings, misunderstandings – make an appearance in the arc of the show, and the way the events in this new tale unfold feels Shakespearean in a way only true admirers of the writer could fully capture.

And yet, with all these deep, thoughtful aspects, there’s still one more important thing to know about this show: it’s undeniably fun. While it’s not as superficial as it may appear at first glance, & Juliet is still, at its core, entertaining. Read’s script is witty and charming, Martin’s music is (of course) catchy, and the entire company genuinely seems to be enjoying themselves as they dance and sing their hearts out. The show is visually stunning, and creates an immersive world the audience wants to play in. It features gorgeous industrial sets by Soutra Gilmour that mimic the “players’” stage and mix practical elements with Andrzej Goulding’s ingenious videos and projections – be sure to check the house on the map as it shifts to reflect each scene. The sets and projections are further enhanced by Howard Hudson’s immersive lighting design, which has a great interplay with the in-world performances and asides as Anne and Will disagree over plot points in the new version of the show. Paloma Young’s striking costume designs are an intriguing and distinct mix of modern fashion with Renaissance influences, almost evoking a steampunk-style approach to traditional Shakespearian fashion, and incorporates amusing modern touches like bedazzled leather jackets, jumpsuits, and JanSport backpacks. J. Jared Janas continues Young’s themes in their hair and makeup designs, helping flesh out distinct personalities for each character and ensemble member, down to some artfully-placed tattoos. Jennifer Weber’s exhilarating choreography elevates the whole performance, and the complicated and energetic dance routines, often featuring asides that help further define characters and scenes, are simply superb. In my ever-present battle with the Kennedy Center’s sound system, I’ll note that Gareth Owen’s sound design occasionally had a few mixing and mic issues, though it carried the talented cast and musicians’ work well overall, especially the live musicians tasked with brining to life Dominic Fallacaro’s arrangements of Martin’s hits. The team of musicians, a combination of the touring company (Reagan Casteel, Associate Conductor and Keyboard; Clay Nordhill, Guitar; Tabri Lake, Bass; and Zack Albetta, Drums) and Kennedy Center Opera House Orchestra members (Michelle Kim, Violin/Viola; Danielle Cho, Cello; Alex Tang, Keyboard Substitute; and Susan Kelly, Orchestra Librarian), perform under the direction of Music Director, Conductor, and Keyboardist Andre Cerullo.

The cast for this touring company is as impressive as the production elements itself, living up to the challenge of balancing such a fun, smart, and spirited production. The ensemble truly shines and deserves to be acknowledged for their enrapturing movements, vocals, and background performances – they never draw attention away from the leads, but their work enriches the scenes, and the exuberance and energy they bring is just palpable and vital to the show’s heart. As Lance, Paul-Jordan Jansen brings a hilarity and enthusiasm that shines with emotion. Mateus Leite Cardoso’s François is an endearing mix of charming and awkward, and it’s a joy to watch his character grow. Nick Drake, as May, plays perfectly off Cardoso, with expressive movements and a gorgeous voice; Cardoso and Drake’s moving duet may be one of the best numbers of the show, and their songs with Jansen are also heartfelt highlights. As Angélique, Juliet’s Nurse, Kathryn Allison brings a unique blend of hilarity and compassion to the role, taking a previously one-dimensional character and fleshing her out to be a captivating presence.

Interestingly, & Juliet has two sets of leading characters: Anne and Will, whose struggles with each other are revealed as they rewrite the famous story, and the leads for their play, Romeo & Juliet. The four actors need to work to balance each other as well as parallel their journeys, creating a fascinating dynamic. Teal Wicks struggled initially to make Anne her own, seeming to push her vocals in her opening numbers, but, once she settled into the role, she was an incredible force; it was impossible not to recognize when she was on stage, and her eleven o’clock number is easily a standout. Wicks also adds an easy humor and sincerity to Anne that makes the character the one the audience can most identify with, and her ability to carry both this closeness and power makes for a wonderful characterization. As Will Shakespeare, Corey Mach manages to bring a nuanced performance to the legendary writer; there are a number of shows (Something Rotten and Jane Anger are good examples) that portray the Bard as being less-than-likable, but & Juliet and Mach instead choose to portray a man who has both hubris and romance, humility and pride. Mach masterfully shows bits of vulnerability in his character just as easily as he demonstrates his character’s stubbornness and arrogance, creating a complex and compelling version of the playwright (and, as he hilariously reminds us throughout the show, actor). Michael Canu’s Romeo perfectly encapsulates the modern understanding that he’s, for lack of a better word, a douchebag, while also depicting a romantic charm that makes it clear why Juliet would have fallen for him in the first place. His almost naïve response to Juliet’s dismissal of him when he returns and her anger over his other lovers keeps the spirit of the character we all love to hate while also adding a surprising and endearing sincerity to the role. Unfortunately, his vocals aren’t quite at the same level of his counterpart, so some of their songs felt a bit lopsided. Conversely, as Juliet, Rachel Simone Webb’s vocals are nothing short of stunning, which is vital to a show where her character is responsible for nearly half the songbook. However, as gorgeous as her singing is, Webb’s movements often felt flat, and in the larger dance numbers it almost felt as though she was marking the steps rather than dancing, which was unfortunately noticeable in the face of the pure energy brought to the production by the rest of the company. It makes one wonder how much more engaging the show could be if it felt like Juliet actually wanted to be there. That said, the performances, production, and ambience are still so incredible that the audience was palpably invested and reactive, bringing the kind of magic that only can come from truly a fun and enthralling live theater experience.

TL;DR ("too long, didn’t read," in internet speak): With a clever script, beloved music, and strong teams both on and off the stage, & Juliet is an incredibly witty, thoughtful, and joyful show, and the National Tour’s run at the Kennedy Center is the perfect way to cap off the year.

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The National Tour of & Juliet plays at the Kennedy Center through January 5th, 2025. Performance run time is approximately 2 hours and 30 minutes, with one 15-minute intermission. Additional information on tickets and accessibility (including limited rush tickets) can be found on the Kennedy Center website and the & Juliet National Tour site.

Photos courtesy of Matthew Murphy. Banner photo features the company of the North American Tour of & Juliet.

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