The Cast Photo by Matthew Murphy

& Juliet asks what if William Shakespeare, with prodding and direction from his wife Anne, didn't have Juliet kill herself at the end of Romeo and Juliet, but rather focused the story on what happened to Juliet after that short-lived romance. The musical premiered in London in 2019 and on Broadway in 2022.

One of the unique aspects of the show is that all of the songs were written (at least partially) by one man–Swedish composer and lyricist Max Martin. Martin is responsible for creating a huge number of hit songs for over thirty years for stars such as Britney Spears, the Backstreet Boys, Ariana Grande, Pink, and Katy Perry, usually in collaboration with other writers. Part of the appeal of the & Juliet is the audience recognition of each song as it starts and then seeing how it's used in the storytelling. Titles such as "Blow," "Confident," "Teenage Dream," "Problem," and "I Kissed A Girl" are very well integrated into the story, with the song lyrics keying many of the plot points. Infrequently, the numbers may feel a bit forced, which is always an issue with jukebox musicals, but the cringe factor of those moments only adds to the free-for-all nature of the show. Other songs in the score include "Oops!...I Did It Again," "I Want It That Way," Everybody (Backstreet's Back)," "Roar," and "Can't Stop the Feeling!."

The story, crafted by David Rest Read, unfolds as Shakespeare's wife Anne pleads for a happy ending to the play, and one in which the female character can show strength and independence. This concept of female empowerment is reinforced throughout, along with that of a person's right to love who they love. There's a lot of very effective humor, touching moments related to parental love and LGBTQ+ acceptance, and a unique historical perspective about that time period and the backstory of the Bard and his family. Most importantly, the characters are fleshed out properly, but with the story also ramping up the fun factor at nearly every turn.

Rachel Simone Webb is likeable and aptly bold as Juliet. She captures the independent nature of the character and shows off her strong singing voice very effectively throughout. Understudy Shelby Griswold is extremely endearing and funny as Anne (she should really play the role full time at some point), understudy Christopher Robert Hanford gives Shakespeare the necessary confident and playful swagger, and both are excellent vocalists. As Juliet's best friend May, understudy Ishmael Gonzalez supplies nuanced acting choices which enhance the heartfelt moments of the character's emotional arc, and demonstrates first-rate vocal prowess as well. Mateus Leite Cardoso captures the reluctant nature of Francois, a potential new suitor for Juliet, and sings well. CCM grad Michael Canu humorously conveys the dimwitted mind of Romeo to garner many laughs. Paul-Jordan Jansen (Lance) and Kathryn Allison (Angelique) are game for comedic antics as an older potential romantic couple. The entire company provides strong singing and dancing and are to be commended for the level of energy they supply. Though understudies were on for three of the principals at the performance reviewed, you'd never know it based on what was seen on stage.

Director Luke Sheppard corrals the chaos into a flashy and fun feast of the eyes and ears. The transitions between the Anne and William Shakespeare moments with the Juliet story are smooth. The tone of the piece is appropriately balanced between the comedy and the tenderness of the relationships, and the blocking is thoughtful. The dances by Jennifer Weber are athletic, modern and hip. Andre Cerullo leads a talented eight-piece band which is a mix of touring and local musicians, playing arrangements by Bill Sherman.

The scenic design by Soutra Gilmour includes nods to the Tutor period, a 1950s style jukebox to acknowledge the source of the score, and a broken "Romeo & Juliet" sign, leaving only the "& Juliet," which makes up the show's title. Projections by Andrzej Gouling are also used effectively. Paloma Young's costumes are modern and cool, but also have features of the Renaissance era. The lighting by Howard Hudson is flashy, varied, and well-suited to the material.

& Juliet is one of the best examples of original stories using a jukebox score, similar to Mamma Mia!, another show by Swedish songwriters. A frolicking good time is had on stage and by most audience members, and the excellent cast on this national tour makes the show highly recommended.

& Juliet continues through April 20, 2025, at the Aronoff Center, 650 Walnut St., Cincinnati OH. For tickets and information, please call 513-621-2787 or visit cincinnati.broadway.com. For information on the tour, visit andjulietbroadway.com.