Currently touring the UK and stopping off at Stoke’s Regent Theatre, & Juliet is a glittering pop-powered reimagining of Shakespeare’s Romeo and Juliet, asking what might happen if Juliet didn’t die, but chose to rewrite her own story instead. Penned by Schitt’s Creek writer David West Read and bursting with pop anthems from Max Martin (the hitmaker behind Britney, Katy Perry, and Backstreet Boys), this show is an energetic celebration of female agency, LGBTQIA+ joy, and youthful rebellion.
Instead of taking her own life at the end of Shakespeare’s tragedy, Juliet (Gerardine Sacdalan) decides to leave Verona behind and embark on an adventure to Paris, joined by her best friend May, her nurse Angelique, and eventually a very-much-alive Romeo. All the while, Shakespeare (Jay McGuiness) and his wife Anne Hathaway (Lara Denning) battle over creative control of the story, bringing a metatheatrical twist that adds comedy and commentary in equal measure.
Lara Denning is the undeniable standout as Anne Hathaway. Her performance is rich in nuance, blending humour, strength, and vulnerability – particularly during her emotionally resonant rendition of “That’s the Way It Is” in Act 2. Her vocal performance is sublime, combining power with a finely controlled delivery that is packed with character.
Gerardine Sacdalan is an equally compelling Juliet, delivering powerhouse vocals and embodying a heroine who’s discovering her own voice – literally and figuratively. She handles both comedic beats and earnest emotion with confidence and charisma.
Ben Jackson Walker (Romeo) and Sandra Marvin (Angelique) also give secure, enjoyable performances, with Marvin bringing sass and warmth in equal measure. However, some of the other characters lack depth – a shortcoming that seems to stem from a combination of uneven direction, slightly thin writing, and occasional stylistic inconsistency. When it leans heavily into caricature and absurdity, it does so knowingly, and this self-awareness is where it shines most. However, these moments are not effectively carried throughout the show.
While much of the singing soars, a few numbers suffer from over-enunciation or an overly staccato rhythm that jars against the smooth pop stylings of the original tracks. That said, the ensemble brings relentless energy and slick precision, executing Jennifer Weber’s choreography with infectious enthusiasm and razor-sharp timing. The choreography itself is a real strength – dynamic, era-appropriate, and wonderfully entertaining.
For a touring production, the set (by Soutra Gilmour) is impressively bold. However, some staging choices – such as the repeated use of overhead drops (a chandelier, a moon) – feel overused and underwhelming in terms of their dramatic effect. In contrast, the video and projection design by Andrzej Goulding is used effectively to ground the action in a digital-savvy, contemporary world.
Paloma Young’s costume design strikes just the right balance between Shakespearean roots and pop iconography, blending corsets with glitter and denim with ruffs. The band, under Bill Sherman’s musical supervision, delivers the iconic playlist with tightness and flair, adding richness to the live experience.
What elevates & Juliet beyond pure pop spectacle is its commitment to inclusivity and empowerment. The show celebrates queer identities – most notably through the character of May – and it pushes back against traditional gender roles and patriarchal narratives.
While not without its flaws – including occasional vocal delivery issues and moments of shallow characterisation – & Juliet is a joyous, defiant, and dazzling show. It beams with positivity, offering a welcome rewrite of a tragic tale, backed by some of the most beloved pop songs of the last two decades. This is Shakespeare with glitter, girl power, and a healthy dose of satire – and it’s hard not to be swept up in its charms.
&Juliet plays at the Regent Theatre until Saturday 17th May 2025 where it will continue its UK tour.
Photography throughout from Matt Crockett.
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