REVIEW: &Juliet - Beenleigh Theatre Group

Book: David West Read

Music: Max Martin and Friends

Director / Set and Costume Design: Tayla Simpson

Music Director: Steven Days

Vocal Director: Jade Enright

"This is what happens when you spend THREE DAYS getting to know someone…"

Created by Schitt’s Creek writer David West Read, &Juliet asks a simple question: what if Juliet simply does NOT stab herself and die for Romeo? What if Anne Hathaway storms into Shakespeare’s writing session, grabs the quill, and rewrites the whole ending herself? Suddenly Juliet is off to Paris with her besties where new relationships bloom, parents meddle, exes resurrect themselves, and everyone expresses their emotional trauma through the biggest pop anthems of the last 30 years.

It is a coming-of-age jukebox musical powered by the catalogue of songwriter Max Martin: Backstreet Boys, Britney, P!nk, Katy Perry, Demi, Ariana, Kelly Clarkson and plenty more! It is knowingly silly, gloriously camp and sneakily heartfelt, with a message about reinvention, second chances and owning your own story instead of someone else’s tragedy. Tonally, the show is pure rom-com chaos stacked with clichés, dad jokes, teen angst, insider theatre winks and that "my parents just don't get me" attitude. It feels like a 2000s sleepover movie sprung to life, sparkly lip-smackers and all.

As Juliet, Zara Lassey carries the emotional and vocal spine of the show. I love how she begins scenes physically closed off, head lowered and posture small, which makes her gradual shift into self-belief and confidence really satisfying to watch. And vocally she is a beast. The Britney material in particular sits so beautifully in her voice. She feeds the slow drama of “…Baby One More Time” and “Oops!… I Did It Again” with that perfect 2000s pop fizz and agile riffs. Her chemistry with Isaac Brown (May), Morgan Garrity (Angelique) and Rachel Love (Anne/April) forms a fearsome-foursome bestie squad. Their “Domino” is a shining ensemble moment, fizzing with fun, harmonies and choreographic punch. And then Zara finally gets to chill later and show off her soft, tender tone in “One More Try,” complete with a random Notebook-style boat ride.

The show thrives on the "Anne, Will and the quill" framing device. Michael Mills is instantly magnetic as William Shakespeare in “Larger Than Life.” As a frustrated playwright with an overinflated ego and a boyish charm he has come to rely on, there is something endearingly dorky about his portrayal that I cannot even be mad when he is being insufferable. He unravels hilariously as his wife seizes creative control of his masterpiece. Speaking of, Rachel Love gives Anne Hathaway a "hello fellow kids" energy that is very endearing. Anne is desperate to rewrite not just Juliet’s story but her own, and Rachel plays that yearning with warmth and optimism. The tango dialogue scene with Michael is a particularly inspired directorial choice that physicalises their marital tug-of-war. And then Rachel opened her mouth to sing Celine Dion's “That’s The Way It Is” and I practically levitated. She has one of those voices that is lush, clean, and so satisfying on top.

As May, Isaac Brown is a revelation. His warm '00s pop tone suits the Britney/Katy Perry/Adam Lambert territory perfectly, and Isaac carries the emotional core of May's storyline with sass, grace and humour. “Whataya Want From Me” with Campbell Briggs as Francois is a showstopper: vulnerable but vocally secure and FULL of power. Isaac spends a large portion of the show in a tightly cinched corset across his diaphragm and still manages to deliver huge, sustained belts without sounding strained. His riffs are tasty, never indulgent, and he grounds May’s journey in “I’m Not A Girl, Not Yet A Woman” with a very real sense of "I just want to be seen as myself."

Luke O’Hagan is fabulously eccentric as Lance Du Bois, leaning into the comedic width of the role. His “Teenage Dream” duet with Morgan balances humour and heart beautifully. His costume absolutely sent me too. And if it is possible to roll him and Angelique on already in the bed or run on during a blackout, it would make that particular joke land much harder. As it is, the audience gets the full reveal in stage lights whoops!

Liam Gatt storms back into the show as Romeo (king of main character syndrome), blasting into Bon Jovi’s “It’s My Life” like he has been waiting the entire musical for this entrance. His swagger, rock-tenor vocal attack and razor-sharp comic timing sell the role completely.

Director Tayla Simpson keeps the stage mostly spacious for choreography, with a two-level balcony structure upstage and glowing Romeo & Juliet signage overhead. The costumes are modern pieces with a renaissance twist: think corsets, vests and ruffs mixed with denim, boots and glitter. April’s wardrobe in particular looks like she has stepped straight out of my Pinterest board and Juliet's final outfit is ICONIC. I found myself craving a bit more from the lighting design to match the pop energy. Don't get me wrong, there are some beautiful patterns, pulsing colours and perfect blackouts, but this is a show that can easily handle even bolder, more theatrical looks.

One of the more interesting creative choices is letting many of the cast keep their Aussie accents. It grounds the show firmly in our own backyard and gives the text a cheeky, recognisable tone. At times though it becomes a guessing game of who is aiming for Australian, American or British. It is not a deal breaker, just sometimes distractingly inconsistent in a text that already plays heavily with language and period.

This is a show of mostly singing, and Tayla Simpson has chosen her cast very artfully. Across the board, the vocals are incredibly strong. Zara, Rachel, Campbell and Isaac in particular deliver consistently excellent work, and Zara and Campbell's blend is especially dreamy when they sing together. The band sits visibly at the back of the stage, loud and tight, which gives the entire night that live pop concert energy. And honestly, some of these orchestral arrangements are better than the originals. You know how sometimes the Glee cover hits harder? That is what this feels like. BTG productions sometimes struggle with microphones, but here the sound is surprisingly solid hooray! Occasionally the ensemble sings a touch too loudly from offstage, but I do prefer enthusiasm over timid hesitation in a show like this.

There are a lot of songs crammed in, but they never feel too random. Numbers pop up, do their storytelling job and move on before they outstay their welcome.

Highlights include:

• Blow by Ke$ha, which explodes with club energy, party lighting and choreography that actually feels like a wild night out. Although was I the only one who thought Juliet would rise into the air on the chandelier?

• Show Me Love by Robyn, where a carriage set piece appears, Will is peddling away on a bike with a goofy grin, and the ensemble is absolutely loving their blocking in this one. Someone please make a sign that says “Beenleigh: 10,000 miles”.

• I Kissed A Girl by Katy Perry, which is a true triple threat moment by Campbell and Isaac: killer vocals, crisp choreography and sizzling chemistry.

• Problem by Ariana Grande / Can’t Feel My Face by The Weeknd, a sharp, punchy mashup with strong down beats and really effective lighting choices.

• Backstreet’s Back by The Backstreet Boys, gleefully tackled by an all-denim boy band, pure fan service and original choreo fun.

• Roar by Katy Perry, a massive closer with high energy choreo and pyro sparks that made me fling out of my seat like a lunatic. Plus a blackout costume quick change that is so smooth it feels supernatural!

If anything, the one number that feels slightly undercooked at present is "Confident" by Demi Lovato. It is one of the biggest power anthems of the night, and while it sounds excellent with some sharp choreographic choices, I think we should get more than a slow walk downstage at the end. More drama, higher stakes (should May be witness?), and a greater sense of the song exploding out of the cast. The frame is there. It just needs the storytelling dial turned up.

There are a couple of pitchy moments in "Since U Been Gone", but it is a beast of a number even for industry professionals. The attitude is spot on though, and the girl gang energy absolutely sells the scene. We must remember that these songs are written for the lungs of Demi, Kelly, Celine, Ariana, P!nk Jessie J... So when a Brisbane community cast even attempts them and slays, it is impossible not to cheer!

&Juliet is not here to wallow in tragedy. It is here to celebrate joy, identity and rewriting your life. The show repeatedly reminds us that a wedding does not always equal a happy ending, that parents do not always know best and that living honestly sometimes means breaking things open first and living with the chaos it may cause. The audience laughs, gasps and sings along (sorry not sorry). For a night of big vocals, bigger feelings and a story that insists your life does not end with one boy on a balcony, BTG’s &Juliet is absolutely worth the ticket. If you are a fun person, you are going to have a fun time, I promise!

Tickets available here