Everybody can use an editor, and Shakespeare isn’t any exception. Happily, he married one.
Bored with being cooped up with the children in Stratford-upon-Avon, Anne (Teal Wicks), spouse of the nice playwright, pops all the way down to London to see the primary efficiency of “Romeo and Juliet.” The brand new tragic ending that Shakespeare (Corey Mach) proudly previews to the corporate strikes her as utterly wrongheaded.
“What if … Juliet doesn’t kill herself?” she proposes. As strong-willed as her husband, she doesn’t want to argue the purpose. She merely needs to place her thought to the take a look at.
Behold the premise of “& Juliet,” the euphoric dance get together of a musical that updates Shakespeare with a dose of twenty first century feminine empowerment. The manufacturing, which opened Friday on the Ahmanson Theatre below the fizzy course of Luke Sheppard, reimagines a brand new post-Romeo life for Juliet whereas driving a magic carpet of chart-toppers from juggernaut Swedish producer Max Martin, who has spun gold with Katy Perry, Britney Spears and the Backstreet Boys, amongst different pop titans.
Teal Wicks, left, and Rachel Webb within the North American Tour of “& Juliet.”
(Matthew Murphy)
This good-time jukebox musical depends as a lot on its wit as on its catalog of pop hits. The present’s music and lyrics are credited to Max Martin and buddies — which appears like a low-key cool desk on the Grammy Awards. The intelligent e-book by Emmy winner David West Learn (“Schitt’s Creek”) creates a world that may comprise the present’s musical riches with out having to shoehorn in songs within the shameless style of “Mamma Mia!”
Take, for example, one of many early numbers, “I Want It That Way,” a pop ballad made well-known by the Backstreet Boys. Anne begins singing the track when Shakespeare initially resists her thought of giving Juliet again her life. She needs him to associate with her prompt adjustments not as a result of she’s positive she’s proper however as a result of she needs him to belief her as an equal accomplice. The track is redeployed in a manner that has little bearing on the lyrics however in some way feels coherent with the unique emotion.
Clearly, it is a industrial musical and never a literary masterpiece on par with Shakespeare’s tragedy of ill-starred lovers. “& Juliet” would have hassle withstanding detailed scrutiny of its plot or probing interrogation of Juliet’s character arc. However Learn well establishes simply the suitable get together environment.
Juliet (a vibrant Rachel Webb), having survived the tragedy as soon as scripted for her, travels from Verona to Paris with an entourage to flee her mother and father, who need to ship her to a nunnery for having married Romeo behind their backs. Her clique contains Angélique (Kathryn Allison), her nurse and confidant; Might (Nick Drake), her nonbinary bestie; and April, her beginner sidekick out for enjoyable who Anne performs in disguise. Shakespeare casts himself because the carriage driver, permitting him to tag alongside and preserve tabs on the cockeyed course his play goes.
In Paris, the crew heads on to the Renaissance Ball, which has the appear and feel of a modern-day mega-club. Entry is barred to Juliet, however not as a result of she’s ridiculously underage. Her identify isn’t on the unique visitor checklist. So by means of the again door, Juliet and her touring companions sashay because the manufacturing erupts in “Blow,” the Kesha track that encourages everybody to get their drink on and let unfastened.
Rachel Webb and the North American Tour Firm of “& Juliet.”
(Matthew Murphy)
The dance setting — kinetically envisioned by scenic designer Soutra Gilmour, lighting designer Howard Hudson, sound designer Gareth Owen and video and projection designer Andrzej Goulding right into a Dionysian video paradise — offers the all-purpose license for Martin’s music. It’s the environment and the vitality that matter most. Paloma Younger’s extravagant costumes increase the extent of decadent hedonism.
On this welcoming new context — think about “Moulin Rouge! The Musical” suffused with woman energy — there’s by no means something odd in regards to the characters grinding and wailing like karaoke superstars. The ecstatic movement of Jennifer Weber’s choreography renders dramatic logic irrelevant.
However love is the secret, and each Juliet and Might fall for François (Mateus Leite Cardoso), a younger musician with a geeky humorousness who’s nonetheless determining his id. Might doesn’t count on romance to be a part of their destiny. Within the Spears track “I’m Not a Girl, Not Yet a Woman,” they offer highly effective expression to an interior confusion this musical romance is decided to type out with an acceptable accomplice.
Not like for the unique characters, a cheerful ending is now not off-limits. Shakespeare and Anne wrestle to get the higher hand of a plot that appears to have a thoughts of its personal. Shakespeare pulls a coup on the finish of the primary act that I received’t spoil besides to say that what’s good for the goose proves dramaturgically viable for the gander.
Teal Wicks, left, Rachel Webb, Nick Drake and Kathryn Allison within the North American Tour of “& Juliet.”
(Matthew Murphy)
This spirited competitors stays within the background, however their marital happiness issues to us. Mach’s Shakespeare has the cocky strut of a rapper-producer with a protracted checklist of colossal hits. Wicks provides Anne the heartfelt complexity of one in every of her husband’s shiny comedian heroines. There’s a high quality of clever feeling redolent of Rosalind in “As You Like It” in Wicks’ affecting characterization and luscious singing.
However the musical belongs to Juliet, and Webb has the vocal prowess to hijack the stage each time she’s hovering in track. If Juliet’s character remains to be a piece in progress, Webb endows her with a maturity past her years. She makes us grateful that the Capulet daughter is getting one other crack at life. When the large musical weapons are introduced out late within the second act (“Stronger,” “Roar”), she delivers them as emancipatory anthems, fueled by hard-won epiphanies.
Allison’s Angélique is simply as a lot a standout, renewing the bawdy earthiness of Shakespeare’s nurse with modern sass and rousing singing. If the supporting forged of males doesn’t make as deep an impression, the festive comedian universe is nonetheless boldly dropped at life.
“& Juliet” bestows the choice ending everybody needs they may script for themselves — a second likelihood to get it proper. This feel-good musical is simply what the physician ordered in these far much less carefree occasions.
‘& Juliet’
The place: Ahmanson Theatre, 135 N. Grand Ave., L.A.
When: 7:30 p.m. Tuesdays-Thursdays, 8 p.m. Fridays, 2 and eight p.m. Saturdays, 1 and seven p.m. Sundays. Ends Sept. 7
Tickets: Begin at $47.15
Contact: (213) 628-2772 or CenterTheatreGroup.org
Working time: 2 hours, 25 minutes (one intermission)
The place: Segerstrom Corridor, Segerstrom Heart for the Arts, 600 City Heart Drive, Costa Mesa
When: 7:30 p.m. Tuesdays-Fridays, 2 and seven:30 p.m. Saturdays, 1 and 6:30 p.m. Sundays. Runs Sept. 9-21
Tickets: Begin at $44
Contact: (714) 556-2787 or SCFTA.org
