Displaying items by tag: David West Read

Broadway in Chicago’s latest offering at the Auditorium Theatre, & Juliet, bursts onto the stage with the kind of vibrant confidence that makes it clear this isn’t your high school Shakespeare. The production arrives as a full-throttle pop spectacle, gleefully mashing up Elizabethan trappings with late ’90s and early 2000s chart-toppers from Max Martin’s hit factory. It’s a show that knows exactly what it is: a glitter-soaked, self-aware remix of a classic that wastes no time inviting the audience into its playful rebellion against the tragic ending we’ve all been taught to accept. Since its 2019 world premiere in Manchester, & Juliet has evolved into an international hit, and this touring production carries that same electric swagger.

So, what is & Juliet? The musical tosses out the tragic final pages of Romeo and Juliet and launches into a sparkling, beat-driven alternate timeline where Juliet decides her story isn’t over. Shakespeare strides in ready to unveil his masterpiece, only to be challenged by his wife, Anne Hathaway, who argues that Juliet deserves more than a death scene. Their creative tug-of-war becomes the show’s framing device, with the couple rewriting the narrative in real time as Juliet, newly widowed, furious, and independent, sets off for Paris. Joined by the steadfast Nurse, Angélique, and May, a tender, nonbinary friend navigating their own romantic complications, Juliet begins carving out an identity that isn’t tethered to Verona’s star-crossed expectations.

Once Juliet arrives in Paris, the musical fully embraces its jukebox identity. Max Martin’s catalog - Britney Spears, Backstreet Boys, Katy Perry, Robyn, and more - becomes the emotional architecture of the plot, each anthem amplifying Juliet’s bursts of confidence, heartbreak, and rebellion. A new love interest, a handful of identity mix-ups, and the inconvenient reappearance of a very alive Romeo keep the story spinning with lively drive. Beneath the glossy sheen, the show’s core is Juliet’s reclamation of her narrative: she challenges every man, myth, and playwright who tries to script her life. Much like Greta Gerwig’s Barbie, & Juliet reframes a familiar figure by handing her the agency she was never originally given. By the final number, the musical has transformed a centuries-old tragedy into a neon-bright celebration of autonomy, reinvention, and the exhilarating freedom of choosing your own ending.

Fabiola Caraballo Quijada and the company of the North American Tour of & JULIET - Photo Credit Evan Zimmerman for MurphyMade.

Riding the show’s high-voltage spark, Joey Fatone slides into the role of Lance with an easy, self-aware charm that fits perfectly with & Juliet’s playful spirit. As a founding member of *NSYNC and a frequent Max Martin collaborator, Fatone is woven into the DNA of the musical’s soundtrack, giving his performance an extra layer of authenticity. His résumé stretches from Broadway to television to his memorable turn in My Big Fat Greek Wedding, but it’s his work here that stands out: he brings crisp, confident vocals and an easy comedic charm that consistently lifts the charge onstage. Fatone proves he’s far more than a nostalgic casting choice, emerging as one of the production’s most charismatic assets.

Fabiola Caraballo Quijada leads the company with a performance that feels like the show’s beating heart, delivering Juliet with a thrilling mix of vocal firepower and emotional nuance. She tears into Max Martin staples like “...Baby One More Time” and “Since U Been Gone” with bright, commanding vocals, then pivots into moments of vulnerability that make Juliet’s journey feel genuinely earned. Her presence centers the production, funny, fierce, and fully in control.

The supporting cast matches her drive with sharp, engaging work across the board. CJ Eldred’s Shakespeare brings a sly, lightly exasperated charm, leaning into the playwright’s ego without overplaying it, while Crystal Kellogg’s Anne Hathaway counters him with warmth, clean comic timing, and an easy wit. Together, they turn their marital back-and-forth into a steady, engaging thread that helps anchor the show’s driving rhythm and provides some of its funniest moments. Nico Ochoa’s May delivers one of the evening’s most affecting performances, especially in “I’m Not a Girl, Not Yet a Woman,” sung with disarming honesty. Joseph Torres dives gleefully into Romeo’s chaotic bravado, Noah Marlowe’s François adds irresistible comedic sparkle, and Kathryn Allison’s Angélique unleashes powerhouse vocals that stop the show in its tracks. Together, they form a tight, dynamic ensemble that amplifies Juliet’s story and keeps the production pulsing with life.

The show also finds touching emotional beats in Fatone’s Lance, whose scenes with Marlowe’s François carry a gentle, fatherly warmth that echoes the same kindness in François’s growing bond with Ochoa’s May.

Fatone and Allison’s duet on “Overprotected” is a standout, giving Lance and Angélique’s reunion a burst of humor and genuine warmth, and it’s just the start of Fatone’s musical impact throughout the night. His biggest showcase, “Teenage Dream,” becomes a warm, gently comic surprise as he embraces the Katy Perry hit with earnest, velvety vocals that give the number a sweetness you don’t see coming. Fatone may play Lance as the show’s affable comic relief, but his pop pedigree shows; every musical moment feels relaxed, lived in, and delivered with the kind of easy charisma that lifts the entire stage. It would have been nice to hear another number or two from him, especially since he proves he can still bust a move in the big ensemble dance feature “Everybody (Backstreet’s Back).”

The ensemble deserves its own praise, offering crisp harmonies, sharp choreography, and a lively spirit that keeps the show’s force surging. They match Fatone’s charisma beat for beat, creating a lively backdrop that makes each of his musical moments land even more effectively. Their collective precision and enthusiasm elevate the production, giving the score the full, joyful lift it needs.

The company of the North American Tour of & JULIET (1) - Photo Credit Evan Zimmerman for MurphyMade.

If there’s anything I’d tweak, it’s that a few of the show’s narrative threads resolve a bit quickly in Act II, especially once Romeo crashes back into the story and the plot starts juggling multiple character arcs at once. The momentum never falters, but you can feel the show accelerating to tie up loose ends, which leaves certain beats landing faster than they need to. Like many jukebox musicals, a handful of emotional moments feel shaped more by the song than the situation, and a couple of supporting journeys wrap up a bit neatly compared to Juliet’s richer, more fully realized arc. These aren’t flaws so much as brief soft spots in an otherwise confident production, but they do create moments where the storytelling feels slightly compressed next to the show’s usual clarity, wit, and spark.

Even with those brief pacing dips, the production stays remarkably unified, and much of that cohesion comes from the creative team’s razor-sharp vision and assured hand. With a book by David West Read, the Emmy-winning writer behind Schitt’s Creek, the show’s humor lands with a cheerful, contemporary snap that is clever without ever feeling smug and heartfelt without tipping into sentimentality. Luke Sheppard’s direction keeps the pace brisk and the tone delightfully self-aware, guiding the audience through rapid-fire shifts between Shakespearean parody and pop-musical exuberance. Jennifer Weber’s Emmy-winning choreography is the engine that keeps the whole thing pulsing, layering crisp, high-impact movement over Max Martin’s hits in ways that feel both nostalgic and freshly inventive. Together, they shape a production that is as smart as it is spectacular, proving that & Juliet succeeds because its creative foundation is every bit as strong as its glittery, radio-hit exterior.

What I love is how much the show feels like a full-tilt party. Throughout the night, the musical keeps slipping into irresistible, disco-bright bursts of celebration - confetti, fireworks, and bouncy dance numbers - the kind that wash over the Auditorium Theatre with a buoyant, communal energy. Even the live band, tucked out of sight, delivers with such punch that the show takes on a concert-like charge at times. By the end, the audience is on its feet, cheering as if they’ve been part of the celebration all along.

The design team behind & Juliet gives this touring production its glossy, high-octane finish, each element snapping together with precision. Soutra Gilmour’s scenic design provides a playful, ever-shifting backdrop, while Howard Hudson’s lighting drenches the stage in radiant color and concert-style intensity. Paloma Young’s costumes amplify the show’s turn-of-the-millennium exuberance, blending Shakespearean silhouettes with modern pop flair to mirror the musical’s playful collision of eras, and Gareth Owen’s sound design keeps Max Martin’s hits punchy and impeccably balanced. Add Andrzej Goulding’s video and projection work, and you get a production that feels polished, cohesive, and irresistibly alive.

& Juliet continues to light up Chicago with glitter, heart, and high-voltage joy, and this touring production proves itself an outright delight. Running July 22 through August 2, 2026, the Broadway in Chicago engagement at the Auditorium Theatre delivers a vibrant, tightly crafted experience that never loses sight of its emotional core. With a knockout lead performance, a dynamic ensemble, and a creative team working at peak imagination, this tour shows exactly why & Juliet has become one of the most irresistible modern musicals. It is a jubilant, neon-bright celebration of rewriting your own story and absolutely worth catching before it dances out of the city.

Highly recommended.

https://andjulietbroadway.com/

https://www.broadwayinchicago.com/shows/and-juliet/

Lights come down at the top of the show. We are clearly in a rehearsal hall as the ensemble lets us know that it’s opening night of William Shakespeare’s Romeo and Juliet – and they cannot be more excited to perform the material. Video and Projection Designer Andrezej Goulding helps guide the audience to the right time and place with images at the back of the stage representing Elizabethan England. Costume Designer Paloma Young dresses the actors with an impressive nod to the traditional. As they prepare for the opening number, Lighting Designer Howard Hudson zooms in on the cast with radiant color as they slowly move center stage. Fans in the audience may recognize the familiar starting notes of the song, but if not, the lyrics are likely to help fully draw you in:

“All you people can’t you see, can’t you see.
How your love’s affecting our reality.
Every time we’re down, you can make it right.
And that makes you larger than –“

William Shakespeare (Corey Mach) runs on stage to continue the song as this particular performance’s audience goes wild. &Juliet is a jukebox musical of iconic pop songs, and Max Martin (the talented creative behind Music and Lyrics) and book writer David West Read waste no time throwing us in with one of the famous throwbacks from the Backstreet Boys – “Larger than Life.” As the ensemble performed Jennifer Weber’s choreography, this audience felt one step away from jumping on their feet to dance along. The overall feel is like that of a pop concert, and the energy only heightens from there.

Directed by Luke Sheppard, & Juliet takes place on the opening night of Shakespeare’s Romeo and Juliet. As the cast prepares to rehearse the ending, his wife, Anne (Teal Wicks) unravels everything with a twist. What if Juliet didn’t end it all over Romeo but instead, went on living? What if the famous love story actually began with Romeo’s death, and instead created an opportunity for Juliet to go out and experience life? As Shakespeare and Anne co-write (and argue over) the new story, we are invited along on the journey as Juliet (Rachel Simone Webb) sees the world through new eyes – even inviting Anne and Shakespeare to learn a little something about their relationship along the way.

To say that Sheppard’s ensemble is full of stellar performers is an understatement. Each actor carried a vocal belt that rang from the rafters as they brought the boppy score to life. Pop fans will recognize a number of the hits including “Since U Been Gone,” “I Want it That Way,” “Domino,” “Roar,” and “It’s My Life.” Particularly when combined with Weber’s choreography and the vibrant design scheme, you might just find yourself sitting on the edge of your seat – afraid you will miss something if you so much as blink.

Michael Canu and the company of the North American Tour of & JULIET.

As much as the musical feels like a pop concert with high energy and fast-paced music, you might find that a large part of what sells the show is the heart – particularly as Anne learns to find her voice alongside Juliet.  

In an effort to find agency, Anne writes herself into the story as one of Juliet’s best friends – helping her along as she gets over Romeo and finds new life in Paris, France. When Juliet finds herself in the middle of a major romantic decision, Anne sits her down and shares her own story. Her marriage to Shakespeare has never been easy, and she has to navigate the highs and lows of that every day. 

The two begin to sing Celine Dion’s “That’s the Way it Is” – which is quite the tonal shift. In contrast to the larger-than-life choreography and light show from earlier, Sheppard pairs it down – focusing on the two women simply sitting in chairs at the center of the stage. We are left with little more than the actors themselves and their stunning vocals – filled with the heartbreaking emotion of the moment. If you’re anything like this writer, you may even find yourself moved to tears – watching these two women empower each other to not only move on, but also aim for better.

Full of jaw-dropping talent and creative pizazz, & Juliet is a theatrical event that leaves you wanting more. Especially for those who grew up listening to the pop sensations of the Backstreet Boys and Brittany Spears, the musical is sure to thrust you into nostalgia.

Run Time: 2 hours and 40 minutes, with intermission

HIGHLY RECOMMENDED

& Juliet runs through December 15 at the Cadillac Palace Theatre – 151 W Randolph St. See the Broadway in Chicago website for more information regarding tickets.