& Juliet

Take a much-loved Shakespeare play, turn it on its head, add a score of impeccable jukebox tunes, and put it in the hands of an exemplary super-talented cast, and you have Ballarat Lyric Theatre’s latest triumph.

I have reviewed more than 2,000 shows - Main stage, Indie, Arena, Community - and my respect for Community Theatre just gets greater with every production I see. Ballarat Lyric clearly has a deep commitment to the pursuit of excellence, and it shows on every level.

But let’s start with the show itself.

Will Shakespeare and wife Anne Hathaway are having a stoush over the fact that his plays always have unhappy endings…for the heroine at least. She wants girl power and has some pretty good ideas for changing the plot on his new tragedy Romeo and Juliet. What if Juliet woke up, found Romeo dead…and decided to get on with her life? And what if she found out at the funeral that he was basically a cheating scumbag who had proclaimed love under every balcony in Verona? And what if she decided to break free and no longer be a chattel or possession? What if the feminist movement started with Juliet? Of course, Will won’t do a rewrite…he tells her “I want it that way” - yes, the songs do really fit the narrative perfectly – and David West Read’s book is witty and contemporary. You won’t know all the songs by heart, but you will have heard them on radio or a jukebox (there’s one on stage) at least once. It’s a clever show, but it takes a clever company to pull it off, and the individual talent at work here is spectacular.

Braydon McKinnon makes his directorial debut and doesn’t play it safe. In a story about female empowerment and the struggle with the patriarchy, he goes all out for deep character exploration…which makes this far more than your average jukebox musical. He allows his performers to take risks, push the envelope so far that it becomes a paper bag ready to be filled. And it fills to overflowing. 

Equally important is the astonishing work of Choreographer Cooper Guinea. His routines are contemporary and highly physical and executed with amazing precision. Every hand moves as one, every gesture has a purpose. The choreography becomes part of the narrative…. something all choreographers should take note of. The dancing becomes a major star of the show, and kudos to the fabulous ensemble (and principals) who make Guinea’s vision a reality, though how they sing live while executing such physical precision is a miracle.

I am learning that there is a small pool of insanely talented artists in the Ballarat region and so I am able to recognize the same talents in different productions. Their versatility is mind-boggling.

Izzy Farrah (Juliet) is a superstar of enormous talent. With at least 3 distinct vocal styles and ranges plus breath control that would be the envy of Barbra Streisand, she gave us a sweet and innocent Dorothy in BLOC’s Wizard of Oz last year…then totally smashes songs like Katy Perry’s “Roar” with enough belt to cinch a thousand waists. Plus she dances while singing and acts up a storm. What a blessing for any theatre company.

Laurence Heenan (Will Shakespeare) and Liam Kelly (Romeo) are both charismatic Rock Gods, making most of our mainstage leading men look insipid. Both are high energy performers who command the stage at every entrance. Kelly (who nailed Charlie Price in 2025’s Kinky Boots) is electric and could make Jagger or the legendary Michael Hutchence seem positively lethargic, and Heenan couples his charisma with oodles of charm. They are both vocal powerhouses.

Jessica Wikinson owns the stage as The Nurse (Angelique) … Lawdy I played that role in High School but never like this! Her comic timing is impeccable, and her vocals are an incredible asset to the show. She is a delight.

Georgina Dexter (Anne Hathaway) started tentatively promising but really found her niche in the second half when her energy level surpassed her opening night nerves. She quietly took control of the role and shone most in her great bickering scenes with Heenan. Or perhaps it was just downtrodden Anne finally standing up to forceful Will (2^nd best bed indeed!!!).

George Rogers (Francois) is only 16 years old yet already shows the promise of a future leading man, and Archie Jones plays May - of exploratory gender ID - with a sweetness and vulnerability that added total credibility to the romance with Francois. Their duet (Adam Lambert’s “Whataya Want from Me?”) is one of the shows musical highlights.