Venue: Sydney Lyric Theatre (Sydney NSW), from Feb 27, 2024
Book: David West Read
Music and Lyrics: Max Martin
Director: Luke Sheppard
Cast: Blake Appelqvist, Casey Donovan, Jesse Dutlow, Yashith Fernando, Amy Lehpamer, Lorinda May Merrypor, Rob Mills, Hayden Tee.
Images by Daniel Boud
Theatre review
If Anne had possessed any meaningful amount of power in the 16th century, she would have been able to make her husband William Shakespeare’s plays much more palatable to audiences of today. In the musical & Juliet by David West Read, with songs by Max Martin, we see Anne standing up for women, in her objection to the dismal conclusion of “Romeo and Juliet”, demanding that Juliet does not sacrifice herself at the end. A rewrite of the legendary play ensues, with the young leading lady making choices that are much more satisfying, and reasonable, than what the Bard had conjured on his own.
Read’s book provides for the musical a clever and exciting narrative, bolstered by a benevolent attitude that is sure to inspire audiences everywhere. Incorporating some of the biggest pop hits from the last 30 years, written and co-written by Martin, we are treated to a story that encompasses brilliantly, feminist and queer virtues, in a representation of our best progressive selves in the current epoch. Direction by Luke Sheppard is appropriately exuberant, with visual design elements that make the experience as dazzling as any musical theatre lover could hope for.
Performer Lorinda May Merrypor is a convincing Juliet, commendable for hitting every musical note and every gesture of choreography, with vivacious accuracy. Jesse Dutlow and Yashith Fernando play May and Francois respectively, both sprightly presences who help tell the story with unmistakable passion. Romeo appears near the conclusion of Act 1, brought to scintillating life by Blake Appelqvist whose flamboyant sense of irony keeps us endeared to a character that could easily be regarded with little more than disdain.
The magnetic Casey Donovan is most valuable player, as Angélique the nurse, precise with her delivery of every line, and effortless in her glorious execution of some very big tunes. Hayden Tee is immensely charming as Lance, marvellously switching between poignancy and comedy, for a loving portrait of modern fatherhood. Shakespeare is played by a very likeable Rob Mills, whose delicate balance of egotism and sincerity, makes the fanciful conceit of the show seem suddenly plausible. Amy Lehpamer wins us over entirely to Anne’s side, with an intricate understanding of the humour required in every scene, always making us feel secure in this bold revision of a revered classic. Also remarkable is the fantastically attractive ensemble cast, bringing emotional authenticity to all the extravagant goings on.
So much of our cultural institutions contain values that are outmoded and frankly, harmful. They are deeply entrenched in our lives, and even when we are able to identify their failings, it is no easy task trying to deny their existence, and simply wishing them away has proven impossible. We can however confront and interrogate what they mean, and examine how they continue to affect subsequent generations. We can reframe old messages, turning them into new discussions, so that we may bring refreshed understandings, to symbols of authority that have outstayed their welcome. It is no longer acceptable in our storytelling to have 14-year-old girls kill themselves for romance, and that is only the tip of an iceberg, that includes many more maladies we have grudgingly inherited.