REVIEW: &Juliet - Taree Arts Council

Presented by: Taree Arts Countil at Manning Entertainment Centre

Director / Choreographer / Costume Design: Ayesha Haeata

Musical Director: Jess Evans

Stage Manager: Lia Wrigley

Set Design: David Denning

Props: Helen Grooteman

Lighting & Tech: Nathaniel Keegan

Photography: Dave Evans

Yes, this is Stage Buzz Brisbane and yes I’m reviewing a show in regional NSW. But it’s my former theatre company and frankly I can do what I want.

So let’s start with the important question. What if Juliet didn’t die?

That little question drives this joyful pop musical that flips one of theatre’s most famous tragedies and replaces the tears with glitter, girl power, and an alarming number of 2000s hits. Instead of ending in a tomb beside Romeo, Juliet chooses life and sets out to discover who she might become without the expectations of Shakespeare’s original script.

As good-old Willy Shakespeare attempts to tell his tragic love story, his wife Anne Hathaway interrupts and insists Juliet deserves a better ending. What follows is a playful rewriting of the narrative in real time, sending Juliet beyond Verona into a glittering world of friendship, self-discovery, and pop anthems that audiences (particularly millennials) will instantly recognise. Built around the catalogue of pop hitmaker Max Martin, the show blends chart-topping songs with a theatrical twist. Banger after banger! The question becomes how many songs we can squeeze into one show?

And this is a big show. But Taree Arts Council embraced that scale wholeheartedly. From the moment the actors appeared for some cheeky pre-show entertainment, it was clear this company had come ready to play. Then the opening number “Larger Than Life” exploded onto the stage and the show truly kicked into gear.

For a pro-am production, their design ambition was striking. David Denning’s set construction was impressively elaborate. A checkerboard floor, revolving set, aerial wires, and a looming mausoleum created a bold visual playground for the story. Graffiti artwork added modern texture while projected map visuals marked Juliet’s journey beyond Verona.

The costumes, selected by director Ayesha Haeata, leaned fully into the show’s contemporary pop aesthetic. Corsets paired with sneakers and strong wig styling created a playful fusion of Shakespearean and modern fashion. Anne and May’s looks were particularly standout, while Juliet’s Act Two outfit was gorgeously eye-catching. Nathaniel Keegan’s lighting design was also spectacular, shifting from intimate storytelling to full concert spectacle. Pop musicals thrive on visual energy and the lighting here kept the stage buzzing with colour and movement from start to finish.

Kate Simpson shone in the central role of Juliet. She did not stay heartbroken for long once she learned of Romeo’s… extracurricular activities across Verona. Kate captured that pivot beautifully. Wounded, then empowered, then unstoppable. A true pop powerhouse, she tackled the demanding score with stamina and flair, particularly in Demi Lovato’s “Confident,” Britney Spears’ “Oops!... I Did It Again,” and the far too short “Stronger.” There were occasional microphone inconsistencies affecting Juliet and Shakespeare, which is unfortunate in such vocally demanding material. When balanced correctly though, Kate’s voice soared through the MEC!

Travis Cross was an undeniable scene stealer as Francois Du Bois. His outrageous accent, sassy stage presence, and natural comedic instincts made every appearance entertaining. It quickly became difficult for me to imagine anyone else playing the role. Katy Perry’s “I Kissed a Girl” was staged brilliantly, and Travis proved he had chemistry with the entire cast, particularly Juliet. Their friendship dynamic grounded the show nicely amongst all the noise. The Bois Band moment performing Backstreet Boys’ “Everybody” was a nostalgic highlight for this millennial reviewer, while Travis’ commitment during NSYNC’s “It’s Gonna Be May” earned plenty of cheers.

Adam Gordon fully embraced the theatrical absurdity of the lovably self-obsessed William Shakespeare. His portrayal leaned into the character’s ego and drama while maintaining playful self-awareness as he keeps quoting himself and inserting himself into the story. The cast committed well to the show’s British accents too, helping ground the action in Shakespeare’s world. Jessie Davidson was a revelation as Anne Hathaway. Her adorably dorky, passionate characterisation injected heart and bite into the story, and her mix belt was phenomenal. Celine Dion’s “That’s the Way It Is” became one of the show's most sincere moments.

Kim Stevens was perfectly cast as Angelique, Juliet’s nurse. Katy Perry’s “Teenage Dream,” which turned into a mash-up with Ariana Grande’s early hit “Break Free,” became a delightfully absurd sequence alongside Dean Snook, while her performance of P!nk’s “Perfect” provided a genuinely lovely moment with Kate Simpson.

Layla Clarke showed wonderful promise as May, a talented young performer absolutely blooming. May’s story felt earnest and contemporary, and Layla handled it with maturity. Dean Snook provided great comic support as Lance Du Bois, while Emily Ryan’s Benvolio brought so many entertaining moments to Act 2.

Meanwhile, Romeo feels like the “princess track” that pops up when least wanted. Just when you thought the show had moved on from him... His surprise rooftop return during Bon Jovi’s “It’s My Life” was peak ick, and Alex Blenkin leaned right into the character’s smouldering arrogance. His self-aware line “I am a douche!” may have been the most honest moment of the night.

The twenty strong ensemble rarely stopped moving. They pranced, lifted, spun, and filled every corner of the stage with energy. Ayesha Haeata’s choreography was punchy and demanding, particularly during “Roar,” where the quick change moment was epic. The light-up jackets and fans in “One More Try” created striking visuals, even if the duet itself wandered pitch-wise at times.

Musical Director Jess Evans guided both cast and band through a vocally demanding score. With jukebox musicals like this the stamina required from everyone is enormous, and the band delivered the hit after hit soundtrack with finesse. Offstage singing was mostly clean as well. Other standout musical numbers included Jessie J’s relentless “Domino,” Kelly Clarkson’s famously difficult “Since U Been Gone,” and the beautiful duet Adam Lambert’s “What Do You Want From Me.”

Director Ayesha Haeata clearly understood the vibe of &Juliet. The production leaned fully into the camp, satire, and absurd humour that define the show. After all, the original Romeo and Juliet is pretty ridiculous when you think about it. Two teenagers hook up, fall in love, marry, and die within a matter of four days.

Producing & Juliet is a huge undertaking for any company. Taree Arts Council rose to the challenge, assembling a talented cast and creative team who clearly had a lot of fun bringing this story to life. Most importantly, the production captured the show’s central message. Juliet’s story no longer belonged to tragedy. Instead it became a celebration of self-love, friendship, and the courage to choose your own ending.