& Juliet

What if Juliet chose not to kill herself, deciding instead to live life in her own way? This is the premise of this jukebox musical that turns the original story of Romeo and Juliet on its head.

The familiar story is presented by Shakespeare to his fans, who dislike the ending – and Will’s protests are challenged by Anne Hathaway, who takes the Bard’s quill and starts to write a new narrative. She steers a new love story – or rather, stories – though he can’t help meddling to add a bit of spice to challenge the obstacle-free direction to ‘happy ever after’.

It's not the deepest of plots, written by David West Read, Emmy and Golden Globe winner for his writing on the TV series Schitt’s Creek, but it’s well done through clever theatre, sharp humour, and a lot of pop songs. All the music is well integrated into the story, and all the songs are from writer to the stars Max Martin. If you haven’t heard of him, you’ll be familiar with the performers who originally sung his songs: Katy Perry, Ariana Grande, Britney Spears, and plenty more.

Award-winning Northern Light Theatre Company has a well-deserved reputation in staging big musicals, and this is a brash and brilliant adaptation of the original West End show, which they have recreated unbelievably well as a community theatre production.

Director Ceri Hutton’s love for this show is clear in her presentation, but it is the energy of the ensemble that lifts this higher. London may be mark-perfect, but it doesn’t have the same soul as these performers having so much fun on the Elizabeth stage – it feels like we’ve all been invited to a fabulous party.

Londyn Foreman’s Juliet has the right balance of adventure and innocence, and Foreman’s talents in voice and movement are huge, carrying the narrative between and through the energetic numbers. She commands the ensemble through songs such as ‘Blow’, ‘Confident’ and Bon Jovi’s ‘It’s My Life’, but shines in her solos too – the audience shares every one of her emotions when Foreman sings ‘Stronger’.

Shakespeare is played with confidence by Robbie Breugelmans, carrying just enough brag without it becoming smarmy – his transformation from pompous to humble is believable and has convincing chemistry with Anne Hathaway, played by the incredible Bec Pynor.

Pynor has a vast range in her roles as a woman trying to step out from Shakespeare’s shadow and as April, Juliet’s newest best friend. She brings the audience with her as she navigates the emotional highs and lows of being in an unequal relationship. She’s just as comfortable singing and dancing so well with the company; and powerful in her duets ‘That’s The Way It Is’ and ‘I Want It That Way’.

Sarah Hamilton takes the iconic role of the Nurse and she eats up every line. She has a great maternal relationship with Juliet but builds wonderful and hilarious chemistry with her long-lost love, Lance – played on opening night by Deon Martino-Williams. He has some great lines that still don’t distract from his outrageous cod-pieces, and their duet ‘Teenage Dream / Break Free’ moves seamlessly and sweetly between comedy and romance.

Daniel Hamilton’s Romeo is suitably sleazy, and he does well to surface Romeo’s self-realisation as the story progresses. His triumph is in counterpoint to Juliet and her desire to experience everything, particularly in the cliff-hanger number ‘It’s My Life’.

Bailey Edwards shows his talents portraying a confused François, swinging from one attraction to another, and his moments with both Juliet and her best friend May are beautiful.

May, fabulously played with style, panache and self-confidence by Jake Hipkiss is a linchpin in the narrative – supporting Juliet through her changing choices whilst quietly dealing with their own. The simple staging of May’s solo ‘I’m Not A Girl, Not Yet A Woman’ is heartbreaking and superbly effective.

Indeed, this shows Hutton’s strength in directing, where the massive ensemble numbers full of energy, colourful lights and explosions, can be transformed into a bare stage with a single spot, yet both having their natural place in the same show. Marshalling this many performers acting is a crazy challenge, but to have them all constantly being their own characters at the same time is a real achievement.

This is supported by the choreography of Kerreane Sarti and Shenayde Patterson, who have lifted the talent of the ensemble to showcase inventive movement that impresses – and can even make us laugh. Their clever use of dance captains Alana Shepherdson and Holly Fennell incorporates different talents into a single team that demands attention when on stage.

Music direction from Billy St John leads a capable band up to the challenge of playing pop from the pit, having the audience tapping their feet from the very start. The sound design from Allpro Audio is good, and Marty Gilbert works hard to keep up balancing the sound from so many microphones and music that’s being soaked up by the packed auditorium.

Costume design from director Hutton and Ann Humphries is excellent: inspired by the original designs of the professional production, successful in how every person has their individuality yet as a company, the fun and textural clash of their costumes works well together. And it’s important to call out the dressers who do an amazing job in elaborate changes that are lightning quick.

Set design by Hutton and Brad Mundt is good, scaling down for this presentation yet retaining the vital scenic elements from the original production - the horse and carriage are outstanding. And as always, Ian Barge’s lighting is superb, knowing exactly how to fill the stage with colour, or guide the audience with a single spot.

Shakespeare himself said ‘Where there’s a will, there’s a way’ – and Northern Light have found the way to bring a great show to the Shedley Theatre, stuffing the stage with amazing energy, passion and dedication from a willing cast and creative team. This is community theatre that is an excellent demonstration of both of those words.

Review by Mark Wickett