& Juliet

PACA’s announcement within months of the closing of the professional production of &Juliet that it had obtained the amateur rights caused a ripple of delight among performers young and old. A musical with popular songs, a story that re-writes the ending of the “star-crossed lovers” with a feminist twist and includes characters like William Shakespeare and his wife Anne Hathaway – no wonder there was some excitement!

Written by David West Read with well-known pop songs by Swedish composer Max Martin, this musical has cross-generational appeal. Written in 2019, it premiered in London winning three Laurence Olivier Awards in 2020, and received nine Tony nominations for the Broadway production in 2022.

Rod Medina Noël and Willian Pulley have been working conscientiously to bring their company PACA to the attention of Sydney audiences over the past few years. From In the Heights to The Little Mermaid and Footloose they have built a company that promises commitment and quality. & Juliet is their latest venture.

The production is bright and colourful – and the storyline is carefully defined by clear direction and characterisation. The acting in this musical is as important as the singing and the dancing. Each actor needs to be a Shakespearean character – as well as the character his wife Anne Hathaway recreates – then bring both aspects of the character into singing, dancing life.

Noël and Pulley’s vision was to ensure the complex relationships and the “multi-layered storytelling” extend “to every facet of the design”: the costumes, the colour palette, the projected images, the songs being delivered not as “as jukebox playlist” but ntegral to the plot and the characterisation. That requires creative collaboration, organisation and total commitment across the production.

That collaboration involved designers Tony Olding (set), Erica Williams (costumes), Jeremy Cardew (lighting), Oliver Brighton (sound) and Hayley Cantrill and William Pully (vision) as well as a team of set constructers, operators and dressers – and choreographer Janina Hamerlok.

Hamerlok’s skill across all dance forms is clearly evident in this production. There are twenty-eight songs. Most of them involve different choreography, everything from hip hop to ballet. Hamerlok’s vast experience, creative imagination – and reputation for precision and practice – has resulted in a series of routines that enhance the storytelling expressively. The jukebox fun in the prologue and the precision and joy of the opening number set the standard for the whole production.

Juliet is an exacting role. As well as being on stage for most of the production, the actor has to maintain believable relationships – and sing and dance. Jade Lee does all of this extremely well! The Juliet she creates is strong, caring, determined and full of the vitality of a young woman on the move. She has an excellent command of the stage – and creates a warm rapport with the audience. There are some wonderful “Juliet” moments in this production and Lee makes the most of them, especially her triumphant rendition of “Roar” surrounded by a jubilant cast.

Marika Zorlu obviously loves her role as Anne Hathaway – neglected wife of Shakespeare – who fronts Shakespeare about his love stories always having an unhappy ending. Their “discussion” results in a new story for Juliet – and Anne! Zorlu shows that by creating an Anne that is strong and defiant as well as vibrant and fun-loving.

Ben James finds the joker in Shakespeare – as well as the provoked husband! James has an energy and assurance that he uses to establish himself firmly into the role – and into the confidence of the audience.

Juliet’s nurse, Angelique, is played with animated verve by Annette Vitella. Vitella finds all the compassion and fun written into this role, whether championing Juliet or reviving her own long lost love affair with Lance De Bois, father of the young man Juliet (and her friend May) meet at a party in Paris.

Lance is determined his son should either marry or join the army, and Brad Clarke makes him pompous and arrogant – until he recognises Angelique, when he becomes extremely ardent. Clarke plays the flamboyancy of this character very well.

May, Juliet’s non-binary friend and confidant is played self-effacingly by Daniel Timmins. Timmins is a true triple threat, finding the compassion of the gentle character in his acting, singing and dancing.

Ryan McLean is Francois – Juliet …  May’s … new love interest. Francois is intimidated by his father Lance, and McLean finds the differing emotions of the character as he almost gives in to his father, then, with May, finds the courage to be himself. 

Romeo – who is brought back to life by an annoyed Shakespeare – arrives as Juliet is about to marry Francois and isn’t very happy. Baxter Waller makes him a bit self-centred and demanding, though he realises that is no match for Juliet’s new determination and they decide to begin again!

These strong lead characters are backed by a very hard-working ensemble of thirty “Players”, who sing and dance their way through two acts filled with costume changes, colour, laughter and enormous energy.

That energy, the music, the dancing, the fun, the colour and a sense of joie de vivre make this production special – and it will be at Riverside at Parramatta for two whole weeks. Book soon!

Carol Wimmer

Images: Grant Leslie Photography