Ahmanson Theatre / Segerstrom Center for the Arts
What an incredibly entertaining evening in the theatre. I’ve made a few references in reviews lately about big, glitzy Broadway transplants that seem to be geared from the get-go for an eventual run in Vegas at the Mandalay Bay or the Venetian. In the case of the dazzlingly and continually in-your-face national tour of the international hit jukebox musical & Juliet, that’s hardly meant as though that goal is a bad thing.
Produced by and featuring a knockout score highlighting the many familiar pop hits culled from the catalog of Oscar-nominated, two-time Golden Globe and five time Grammy-winning composer Max Martin, as well as a wickedly clever book by the Emmy and Golden Globe-winning and Tony-nominated David West Read, a creator, writer, and executive producer of Schitt’s Creek, you might as well just sit back and enjoy the ride—at least until the rousing curtain calls when the cast quite successfully got the entire audience out of their seats to dance to the music.
Might I mention my nearly 79-year-old ass was up and rocking out right along with the almost every one of the massive Ahmanson Theatre’s energized patrons. Even the most stone-faced opening nighters were moving and swaying, creating a tableaux that must have conjured the image of a gargantuan 1990s-style boy band. I can only hope one of CTG’s roaming opening night photographers got a great shot of all 2,083 of us partying like it was 1999.
This is not saying & Juliet, the imaginative re-envisioning of what happens to Juliet after Romeo dies and she wakes up from Friar Laurence’s sleeping potion and decides she’s not quite ready to join him, is not meant to be anything but what it is: infectious, world-class fun. Slyly, however, after a fairly issue-free first act, there’s more than a little hint of feminine empowerment and equality to satisfy even the most irritatingly left-leaning critics such as Yours Truly.
This is also not saying I wouldn’t always prefer to leave a theatre gloomily contemplating the death of Willie Loman’s American dream, or sad that poor Blanche had to rely on the kindness of strangers, or wondering if that broken Shelley “The Machine” Levene would die in prison. That’s just overdramatic, melancholy me.
I personally would rather musicals that take on powerful contemporary issues facing us all, like Next to Normal or Fun Home or Sondheim’s Passion, but getting any kind of brief respite from the reality of watching everything to believe in crumble around us at the hand of a mad authoritarian and his somnambulant supporters, is right now a consummation devotedly to be wish’d.
There’s no doubt this production—which began in Manchester, England in 2019 before moving on to winning three Oliviers in the West End and nine Tony nominations, including Best Musical, on Broadway in 2023–is a big’un. The glorious & Juliet is surely one of the grandest of the grand visually, with its snappy, deliciously tongue-in-cheek book by Read, chockfull of crafty Shakespearean references and puns upon the original puns, all perfectly complimented by massive, eye-popping sets by Soutra Gilmour, Andrzei Goulding’s elaborate video projections, Howard Hudson’s lighting, and especially the colorfully updated pseudo-Elizabethan costuming by Tony-winner Paloma Young.
Luke Sheppard’s direction keeps things moving at a breakneck pace, but the spirited hip-hop-inspired choreography by Jennifer Weber, eagerly performed with expert precision by this outstanding company, is one of the production’s greatest assets. It’s a joy to see this ensemble of masterful contemporary terpsichoreans, who… well… let’s just say don’t all fit the standard image of what constitutes a Broadway dancer, allowed to show the world they are perfectly capable moving as vigorously and powerfully as their less zoftig castmates. As someone whose physicality greatly hampered my own career over the years, it’s a personal thrill for me to see real people trusted to strut their stuff no matter how much stuff they have to strut.
Of course, the entire production revolves around 25 years of the multi-award-winning chart topping pop songs of Martin, the Swedish composer/producer named ASCAP’s Songwriter of the Year a whopping 11 times. The audience, many of whom are obviously rabid millennial fans of the prolific songwriter, often start applauding and whooping during a song’s first few downbeats, then go wild when they realize how handily Martin and Read have managed to incorporate the familiar tunes into vehicles for the show’s leading characters.
Considering Martin’s collaboration with some of the most heavyweight musical stars of the past quarter-century, including Britney Spears, the Backstreet Boys, Ariana Grande, Katy Perry, N*SYNC, The Weeknd, Demi Lovato, Pink, and many, many more, the program credit is listed as “Max Martin and Friends.” Some of the most famous tunes included in the whooping 32-song cycle are “I Want It That Way,” “Baby One More Time,” “Oops! I Did It Again,” “Since U Been Gone,” “I Kissed a Girl,” “Roar,” “Larger Than Life,” “Blow,” “Fuckin’ Perfect,” “That’s the Way It Is,” and “Can’t Stop the Feeling.” You get it: epic. No wonder they’ve called the uber-prolific Martin the Shakespeare of Pop Music long before & Juliet was a twinkle in his eye. Ironic, isn’t it?
On top of all the other high points of this production, there is the cast, featuring some of the best vocal talent assembled in one place in a long time. In the title role behind the &, Rachel Simone Webb commands a true star-making turn as the all-new and nicely “woke” Juliet, a quite feisty young maiden who is suddenly unwilling to let others, from her soon reanimated husband of four days to her controlling parents, make life decisions for her. And as a singer with lung power to rival Byonce, Webb could one day soon become a major star right up there with some of the artists who originated the songs she belts right out into the Music Center Plaza.
Cory Mach has a field day as the stuffy Shakespeare, around dealing with his long-suffering wife Anne Hathaway (Teal Wicks), who early on arrives on the scene to demand her husband rewrite the ending of his famous play with her input. Wicks is wonderful as Anne, bringing a kind of all-elbows Sutton Foster-y presence to the wife also intent on finding her own voice.
Mateus Leite Cardoso is a delight as Francois, the painfully introverted nobleman who becomes Juliet’s new intended, as is Nick Drake as Juliet’s bestie who soon shows her reluctant fiancé what his true nature really is. Drake stops the show assigned to deliver the unlikely ballad “I’m Not a Girl, Not Yet a Woman,” a task he quickly makes all his own. Kathryn Allison is also noteworthy as Juliet’s faithful nurse, especially in her scenes falling in love—on her own terms as well—with Francois’ Bluto-esque yet eventually softhearted bass-baritone father Lance (Paul-Jordan Jansen).
Ben Jackson Walker, Broadway’s original back-from-the-dead protagonist whose name has been removed from the musical’s title, gratefully returns to the role during the show’s LA run. Walker was born to play this Romeo, a rascal cocksmith who, before finding his true love, had trouble keeping his codpiece in his tights. By the end, however, overwhelmed by the strength and maturity his love has managed to adopt, his Romeo becomes a whole new person desperate to win her back. It’s not often a frothy musical features a character with such a drastic arc to navigate and it’s hard to imagine anyone nailing it more effortlessly than Walker.
The rest of the ensemble couldn’t be better, especially in their ability to keep things moving at fever pitch at all points.
I have to say I couldn’t have enjoyed & Juliet and what has gone into it to make it so spectacular on every level more, but I do think over time, unlike other musicals I’ve found as impressive, this one might not stay in my addled brain as indelibly as others. It’s kinda like that old adage about Chinese food, that it could not be more delicious or tasty but an hour later you’ll be hungry again.
I can live with that and, I suspect, the creators and the producers of & Juliet will be able to as well. Howsoever it eventually lingers in my overworked memory banks, respect for everyone involved and for unique commitment to get a couple of thousand old duffers out of their seats and jammin’ to Max Martin’s “Can’t Stop the Feeling” by the show’s end, is an accomplishment not even Rodgers and Hammerstein or Sir Stephen ever made happen.