& Juliet

& Juliet is a glitter-soaked reimagining of Shakespeare’s most famous tragedy, daring to ask the question: What if Juliet simply… didn’t die? In this pro-am production celebrating youthful talent from Toowoomba and Brisbane, the answer comes wrapped in a swirl of pop nostalgia, girl power and sartorial sparkle.

At its heart, the show explores modern ideas of love, independence and choice - the kind of freedoms that Shakespeare’s poor, impulsive teenagers could only dream of. The message is sincere, if occasionally buried beneath an avalanche of pop anthems.

And what an avalanche it is. The score is a jukebox buffet of late-90s and early-2000s bangers, including Larger Than Life, I Want It That Way, Everybody, Roar and Can’t Stop the Feeling. For audience members of a certain age, it’s less a musical and more an accidental trip down memory lane - somewhere between a Blue Light Disco and a Rage marathon.

The premise is clever and ripe for sparkling dialogue and sharp storytelling. Unfortunately, the script often opts instead for eye-roll-inducing one-liners and a storyline so predictable it practically arrives with its own spoiler alert. Dramatic conflict appears briefly, waves politely, and then wanders off again.

But here’s the thing. What the show lacks in substance the cast makes up for with sheer, unapologetic talent. Vocally, this production is impressively strong across the board, and those powerhouse voices do a lot of heavy lifting.

The evening begins with an immersive pre-show sequence, with cast members mingling and wandering through the warehouse-style set. Personally, immersive theatre always makes me want to hide politely behind my program, but here it fits the show’s playful tone - even if it slightly steals the thunder from the opening number.

In the title role, newly graduated musical theatre performer Kate Hudson-James proves she’s more than ready for the spotlight. Her vocals are powerhouse strong, and she brings both energy and genuine vulnerability to Juliet. It’s the kind of performance that suggests a bright future ahead.

Christopher Thomson is equally compelling as William Shakespeare. Effortlessly professional and completely at ease on stage, he delivers pure vocals, excellent comic timing and enough charisma to make even the cheesiest dialogue sound intentional.

Claire Sutton sparkles as Anne Hathaway, bouncing across the stage with infectious energy and maintaining lively chemistry with her fellow performers. Her vocals are controlled, soulful and confident.

Watching Hudson-James, Thomson and Sutton share the stage is an absolute delight. Their chemistry and pacing elevate the material considerably - which only makes one wish the script had given them a little more to play with.

The principal performers are more than ably supported by Luca Blyth as May, Orlando Vella as Francois, Nicholas Doyle as Lance, Meg Mackenzie as Angelique and Lachlan Dodd as Romeo. Dodd deserves extra credit for injecting fresh energy at the end of Act One and carrying that momentum straight into Act Two.

The ensemble brings infectious energy, enthusiastically recreating the clubbing dance moves many audience members may remember from their own slightly less glamorous nights out in the early 2000s. The commitment and joy are obvious. The ensemble consists of: Micah Adamson, Dylan Ashton, Rhiannon Baird, Emma Bettison, Jayden Blaxland, Bruce Blessing, Niamh Cadoo-Dagley, Megan Cattell, Lydia Cunnington, Lucinda Isbel, Jenny Kempe, Georgia McNamara, Rebecca Peake, Madelyn Robinson, Madeleine Tooley, Flynn Walmsley and Micah Walmsley.

Director Tim Hill deserves kudos for assembling a cast that gels beautifully and for crafting a production that feels polished and easy to watch. In a show that could easily tip into sensory overload, Hill keeps the staging clean and confident, allowing the spectacle to shine without overwhelming the audience.

Choreographer Tess Hill dives headfirst into the golden era of late-90s pop choreography. Think classic Rage music video energy: The Running Man makes a guest appearance, the Funky Chicken struts across the stage, and the Reebok gets its moment in the spotlight. If you suddenly feel the urge to dust off your old dance floor moves, you’re not alone.

Costume designer Debra Nairn once again proves she has an eye for detail and a flair for theatrical spectacle. Her designs cleverly mash up Renaissance silhouettes with contemporary pop glamour: Puffed sleeves, full skirts and Elizabethan ruffs coexist happily with sparkly fabrics, modern tailoring and unapologetic glam.

Pretty pastels mingle with bold primary colours, and there are corsets - six of them, custom-made. Juliet’s berry-red boots are eye catching, while Francois sports a striking breastplate crafted with the help of cosplayer Mickey Rae. The makeup design strikes the right balance too; glamorous but youthful, with luminous “glass skin” and glittery eyeshadow that whispers pop princess rather than period drama.

The technical elements of this production are ambitious and mostly successful. The real-time video sequences are inventive, though the slight time delay is distracting. Audio mixing by Aaron Hannant had a few hiccups and missed mic cues (an occupational hazard in large musical productions) but overall, the sound was good. Ben Hunt’s lighting design deserves special praise, creating a vibrant, club-like atmosphere that keeps the visual energy high.

Frances Story’s set design is easy on the eye: A multi-level warehouse aesthetic complete with industrial textures and LED screens, complemented by Jake Lodder’s video design. At one point a barn door decided to make a dramatic unscripted exit from its hinge - a reminder that live theatre always has a sense of humour of its own.

The band, tucked discreetly behind the upper section of the set until its triumphant revelation at the finale, delivers exactly the rock-concert punch the score demands. Under the musical direction of Luke Kennedy, the sound is polished, energetic and thoroughly enjoyable.

This is undeniably a show for contemporary youth. Its embracing of “vintage” pop icons like Britney Spears, its rom-com sensibilities and its enthusiastic dose of girl power speak directly to a new generation of theatregoers. Chuck in some Converse sneakers, a handful of glitter and a playlist straight from a Y2K sleepover, and the appeal is obvious.

If & Juliet doesn’t quite rewrite theatrical history, this production certainly throws one very enthusiastic pop party along the way. High-energy, nostalgic and bursting with young talent, it contains enough high notes to keep the balcony smiling.

Review by Madeleine Tiller

Photographer: Justin Nicholas