By Kimberly Rau
PPAC is hosting the tour of “& Juliet” this week, a jukebox musical featuring some of music producer Max Martin’s biggest hits that examines how “Romeo and Juliet” could have gone if the titular characters had made different choices. Though the show has very high production values and a top-notch cast, the patchy narrative makes for an uneven theatergoing experience.
A brief summary: William Shakespeare’s wife, Anne Hathaway, shows up to the opening night of Romeo and Juliet and tells her husband that his ending is for the birds. She then steals his quill and opts to write a new story, where Juliet doesn’t off herself when Romeo ostensibly does. She writes herself into the narrative and uses it as a vehicle to address her concerns with her own marriage, all the while seeking a happier ending for Juliet.
There’s just one problem. The only reason anyone cares about Romeo and Juliet as characters is because they die. Take that away and you’re left with…what, exactly? Well, here, it’s jukebox full of 27 tunes designed to make the younger half of the audience feel like they’re back in high school, probably dissociating while someone teaches them “Romeo and Juliet.”
No question, the book lacks substance and feels more like fanfiction than a completed musical. “There’s life after Romeo!” the show’s promotional materials crow. No ticket needed for that revelation. Think of your biggest high school romance. Remember how you thought you’d be together forever? Are you cringing yet? There you go.
Throughout the story, we also have to watch William and Anne attempt to reconcile their marriage, which feels a lot like Mom and Dad fighting in the car. It’s uncomfortable. Though the show raises Juliet’s age to her twenties, she still acts like a teenager, and for a frighteningly long time, it appears our heroine is going to come out of this having learned nothing from the experience. The show has a strong feminist theme, but it doesn’t feel organic. Instead, it feels like the writer David West Read doesn’t trust his audience, and was therefore compelled to spell everything out in excruciating detail. The first act could be shorter by a few songs and gets laggy, but ends on a high note. The second act is stronger. There are cute moments, some of which aren’t overplayed (Shakespeare constantly quoting himself not among them).
Fortunately, what this musical sorely lacks in narrative, it makes up for in talent and spectacle, and there’s a whole lot of both. Director Luke Sheppard has done a good job. Characters fly in and out on swings. Confetti blankets the audience. The lights (designed by Howard Hudson) are flawless, the sets (Soutra Gilmour) are delightful, and the costumes (Paloma Young) are wonderfully eccentric. Jennifer Weber’s choreography is compelling, and the cast is quite talented.
Rachel Simone Webb is our Juliet, and you couldn’t ask for better. Her energy on stage is magnetic, and her voice is fabulous, shining in numbers such as “Roar,” and “Since U Been Gone.” A shrewd, if immature, young woman, Juliet might not know exactly what she wants, but she knows she wants to be the one calling the shots. Webb is excellent in the role. Teal Wicks plays Anne Hathaway, as well as one of Juliet’s best friends in the play within a play. Wicks is a strong singer with equally strong stage presence, and, while Hathaway’s character can sometimes grate on you, you never get sick of watching (and listening to) Wicks when she’s on stage.
As for the men, Corey Mach offers up a prideful William Shakespeare, the kind of man who doesn’t want his wife interfering with his work, but who recognizes that not hearing her out could be detrimental to the marriage. Mach is a great choice for the role, and does a nice job with his songs, including “I Want It That Way,” adding a nice touch of comedy to his strong vocals. Romeo is pretty, popular and dumb, the kind of guy who can’t understand why Juliet wouldn’t kill herself over him. Michael Canu makes his national tour debut with the role and is another spot-on casting choice. The song “It’s My Life,” which features Canu, is one of the best numbers in the show.
The show has several side plots, but one of the most entertaining is the ongoing flirtation between Juliet’s nurse, Angelique, and Lance, the father of Francois, a young man interested in Juliet. Played by Kathryn Allison and Paul-Jordan Jansen, respectively, Angelique and Lance are a joy to watch together or apart.
Overall, “& Juliet” is a fun show to experience, and the audience seemed to really get into it on media night. They weren’t wrong: “& Juliet” is a good time, but the plot will likely leave you wanting. If you go, you’ll probably enjoy yourself, but with so much more compelling theater being offered throughout Rhode Island, it’s hard to insist you make time for it.
“& Juliet” runs through March 2, 2025, at the Providence Performing Arts Center, 220 Weybosset St., Providence. Tickets may be obtained at the box office, online at ppacri.org or by calling 401.421.2787
