& JULIET National Tour Presented by Broadway In Chicago

& JULIET is an unserious jukebox musical that’s deeply serious about its commitment to fun. Jukebox musicals are oversaturated in the theater marketplace, but I adore this one. It helps that & JULIET’s jukebox catalog is veritable millennial catnip: The show’s song line-up traces some 25 years of Max Martin pop hits. All songs are either written, co-written, or produced in some combination by the iconic Swedish pop producer. The songs are simply irresistible. 

The show’s fun, feminist-lite narrative about reclaiming the ROMEO AND JULIET story is cotton candy fluff, but it has a SIX-like sensibility that makes it clever, too. & JULIET poses the question: What happens if Juliet lived? In a battle of wills (pun intended), the pompous, SOMETHING ROTTEN-esque Shakespeare (Corey Mach, nailing the machismo and charming schtick) and his wife Anne Hathaway (Teal Wicks) duke it out about an alternate version of the classic story. Anne wants to reclaim Shakespeare’s quill and rewrite a story that gives plucky Juliet (Rachel Simone Webb) some freedom and the chance to decide if the airheaded Romeo (Michael Canu, who hilariously and note-perfectly supplies spacey, vapid boy band energy) is truly who she wants. 

In Anne’s version, Juliet sets off for Paris with her non-binary Best Friend May (Nick Drake), her nurse Angélique (Kathryn Allison), and her friend “April” (Anne, in disguise, writing herself into the narrative). They soon encounter the wealthy-but-shy heir Francois (Mateus Leite Cardoso) and his powerful father, Lance (Paul-Jordan Jansen, doing some stellar character and accent work). Some Shakespearean-like antics ensue when a love triangle of sorts develops between Juliet, May, and Francois, while it turns out Angélique and Lance have an unexpected connection from their past. It’s a supremely enjoyable and often laugh-out-loud funny confection. 

While & JULIET’s plot is goofy, it hangs together well and book writer David Read West creates artful opportunities for the cast to express their emotions through Max Martins’ hits. The show features songs made famous by the likes of Britney Spears, the Backstreet Boys, Ariana Grande, The Weeknd,  N*SYNC, Katy Perry, Jessie J, P!nk, Demi Lovato, and more. West succeeds at setting up scenarios in which these smash hits fit neatly into the storyline and become extensions of the characters’ emotional states. 

The one big miss is an odd pigeonholing of “I’m Not a Girl, Not Yet a Woman” as a solo for May. That’s no knock on Drake’s strong vocals and genuinely emotional performance, but assigning that song to a non-binary character doesn’t work. Otherwise, most of the song choices are winsome. For example, Juliet and company’s entrance at a Renaissance Ball provides a great vehicle for Kesha’s pump-up song “Blow.” Likewise, in a more downtempo act two moment, May and Francois’s emotionally charged duet “Whataya Want From Me” is a lovely expression of their frustrations, and Drake and Cardoso sound awesome. 

In general, director Lance Sheppard has assembled an ensemble of fantastic Broadway pop singers. Bill Sherman’s arrangements strike the balance between pop and Broadway, so & JULIET calls for legitimate pop Broadway voices. This tour cast delivers. Webb has a really pure singing tone that befits the vision of Juliet as ingénue — her vocals are clear and crisp. Wicks has a gorgeous singing voice; she lends a necessary pop sensibility to her vocals, but she also has a lot of dimension — her delivery of Celine Dion’s “That’s The Way It Is” is pure musical theater. 

& JULIET’S design is all sparkles and glitter. But, hey, that’s exactly what I want for this jukebox musical. The touring production has faithfully translated Soutra Gilmour’s glittering set design — replete with jaw-dropping details like a massive chandelier that Juliet dangles from at the Renaissance Ball. Paloma Young’s gorgeous costumes marry 2024 flare with some fun details that evoke Shakespeare’s era. There’s corsets and codpieces, sure, but there’s also tons of sequins and white sneakers. Jennifer Weber’s choreography captures the feel of an early 2000s music video with some Broadway and contemporary flair.

Overall, & JULIET is a glittering confection with a fun story, tons of Max Martin earworms, and the kind of powerhouse vocals that live up to the legacies of the original recordings. & JULIET is a show I’d pick out of the assorted chocolate box of jukebox musicals — it’s a total tasty treat. 

& JULIET runs through December 15 at the Cadillac Palace Theatre, 151 West Randolph. Tickets are $40 - $180 with a select number of premium, lottery, and rush tickets available.

Photo Credit: Matthew Murphy