& Juliet, Presented by G&T Productions Isaac Theatre Royal May 30 – June 13 Reviewed by Courtenay Washington for Chris Lynch Media

Trigger warning for theatre purists and snobs everywhere: THIS SHOW IS NOT FOR YOU. Verily, not. Forsooth, under no circumstances. Return to thy minimalist staging and emotionally repressed anti-heroes. Except, most inconveniently of all, it is. Against all reason, thou shalt find thyself having a rollicking good time. & Juliet is a full-throttle burst of sparkle, sequins, and pure theatrical energy from start to finish.

Destiny Anderson’s choreography takes centre stage.  It is slick, inventive, and serves as the beating heart of the production, driving the energy from one number to the next. Technical hitches aside (and live theatre will always provide the occasional surprise), the show moves with remarkable confidence and pace, rarely allowing its momentum to falter.

Kristin Paulse is simply phenomenal as Juliet, delivering rich, powerhouse vocals and undeniable stage presence. Yet, this story belongs just as much to Anne Hathaway, and Awhimai Fraser turns in a performance every bit as worthy of the final bow, bringing warmth, wit, and emotional depth to the role. Alongside the flawless Lavina Williams as Angelique, the production becomes a celebration of its female characters; and is all the better for it.

In the crowded world of jukebox musicals, & Juliet actually understands the assignment rather than feeling like a playlist fighting for custody of a plot (Mamma Mia!, I’m looking at you).  I arrived unaware that every song comes from the catalogue of Max Martin, which probably helps explain why the score integrates so seamlessly into the narrative.  The songs share that common musical DNA that allows them to flow naturally through the story despite crossing decades and, sometimes, genre.

The one area that feels slightly underdeveloped is the relationship between May and François. Both performers are engaging, but their connection never quite lands with the same authenticity as the show’s stronger emotional arcs. That said, there’s a part of me that now desperately wants ‘It’s Gonna Be May’ to exist as a standalone sequel.

What makes & Juliet particularly refreshing is that it unapologetically centres its women, reimagining Juliet with joy, humour, and confidence. Quite simply, nothing disappoints. It is loud, clever, self-aware theatre that knows exactly what it is and embraces it completely. However, if I must mention the boys (and I feel that I must), Matu Ngaropo turns in a charming, witty, and vocally strong performance as William Shakespeare, deftly navigating the show’s self-aware humour. Andrew Papas’ gloriously himbo Romeo is almost endearing as a hapless fool for love, delivering exactly the right amount of lovable idiocy without ever overstaying his welcome. The impressive ensemble also brings the overall polish that we’ve come to expect from G&T produced shows.

It’s no surprise this has become one of the hottest tickets in town. & Juliet is absolutely one show that shouldn’t be missed.