By Nicolas Pacelli 

Cathartic and Contagious, &Juliet is a riotous retelling of Shakespeare’s most famous tragedy that comes to Austin this July with one message: The Modern Musical is here, and it’s queer, so get used to it! In this jukebox musical rock-opera, it’s Juliet’s turn to rewrite her own story, and she brings the audience along for every step of the ride. Filled top to bottom with clever choreography, showstopping stagecraft, and a hilarious yet heartfelt story, it’s impossible to hate this production. While the meta structure and sometimes-cringe comedy may come off isolating at first, once you get on board with what the show is offering you, it’s impossible to stop smiling and singing along. 

A Meta-Modern Technical Masterclass 

So many conversations are had these days about what modern changes to the medium of musical theatre are innovative and rewarding versus what changes read as forced and reductive. One of the biggest points of contention in this argument is the incorporation of projections in scenic design. Projections have been a part of stagecraft going back centuries, starting as shadow and lantern projections, transforming through various evolutions to the high-tech animated backdrops we see today. While so many modern productions suffer from minimized set designs that rely on projected scenic locations, this is not the case for &Juliet! The scenic design by Soutra Gilmour (Scenic) and Andrzej Goulding (Video & Projection) brilliantly fuse dynamic projection design with dozens of physical set pieces that complement each other so well that the audience feels transported to the neon-lined European world of Juliet’s story! While the scenic design is often extravagant and technicolor, the show also knows when to take a step back and let the darker moments of the story take over. Howard Hudson’s lighting design is brilliant throughout the show, but it is actually in these quieter moments where it truly shines.

Two standout moments include the first time we meet Juliet in Verona (“Baby One More Time”,) and the preparation for the wedding in the second act (“That’s the Way It Is”.) Pulling back the neon glow and using focused conventional/LED lighting in these moments evokes raw emotion and intensity that increases the dramatic stakes of the story. Speaking of intensity, this might be the loudest and most energetic the orchestra has ever been at Bass Concert Hall. Bill Sherman’s arrangements of Max Martin’s iconic pop catalogue had the bass blasting so loud that the audience was fighting for their lives to not jump right up on the stage and join in on their favorite pop songs. While the music sometimes became so loud it became slightly challenging to hear certain performers, this is certainly not a fault of the incredible sound design, but rather a result of adjusting to a new touring space, and will surely be fine-tuned throughout the week.

So…..About Shakespeare (and the Story) 

That’s right, while this is most definitely (and deservedly) Juliet’s story, The Bard himself, and his wife Anne, serve as the narrators for our story. Without spoiling too much, let’s just say the reason Juliet’s story takes a turn for the better after Romeo’s death is all thanks to some story ownership issues in the Shakespeare household. Will and Anne’s back-and-forth romantic bickering is referred back to several times as a framing device, ultimately leading to a cathartic confrontation in the final moments of the story that had the house so quiet you could hear a rhinestone-crusted pin drop. Disagreements from these two lead to some of the more memorable sub-plots in this story, including the romance between May and Francois. May, one of Broadway’s first ever definitively non-binary characters, is a memorable and important addition to the story, though the conclusion to their romance in the second act feels a bit rushed. However, this doesn’t take away from the power that this character gives to queer voices, delivering bold and iconic musical moments throughout the show, reminding the audience that the only person who can tell your story, is yourself. 

While most of these modern and progressive plot elements work in the favor of the story, there are certainly moments that miss here and there, especially some of the jokes written for Anne and Will. However, the cast is able to play into the often absurd nature of some of the plot conventions, reclaiming moments that could easily read as cringe in the hands of a different cast. This is best seen through the return of Romeo at the end of the first act. Such a shocking yet convenient moment that could feel forced into the story actually reads as both hilarious and threatening to our main character, all thanks to the brilliant talent on the stage.

Juliet, & The Rest of the Cast 

As mentioned, the success of the script here is truly reliant on the ability of the cast to get the audience on board with what’s happening before their eyes. And for the most part, this cast delivers perfect 10’s in this regard. To no one’s surprise, Fabiola Caraballo Quijada’s Juliet is a lights-out, star-making turn from the 19 year old actress. Most obviously, the vocal performance is absolutely stellar, as effortless vocals soar across the stage in one of Broadway’s most vocally demanding roles. However, what truly sets Quijada apart is her strong acting choices and undeniable stage presence. In a stage full of killer ensemble members, Quijada is impossible to look away from, a true triple-threat delivering both all the grit and all the innocence this role demands. While this version of Juliet starts off girly and juvenile, the choice from Quijada becomes only more brilliant as the show goes on. Juliet is a thirteen year old girl, and this performance most certainly reflects that. And while the show only covers a few days time, you can truly feel this character grow into a woman by the end of the show, entirely due to Quijada’s show-stopping turn.

The other major standout of the cast is Crystal Kellogg as Anne, Shakespeare’s wife who takes the story into her own hands. Some of the most iffy dialogue is bestowed upon the Anne character, but Kellogg knows just the right note to strike to balance self-awareness and cringe-comedy in her performance. The second act is where she truly shines, delivering an emotional powerhouse of a performance in both her heartbreaking ballad

“That’s the Way It Is” and in her final scene against her husband. Joseph Torres’ Romeo is a himbo-esque comedic interpretation that wonderfully complements Quijada’s Juliet, and truly shines in his musical numbers. Additionally CJ Eldred’s Shakespeare and Paul-Jordan Jansen’s Lance know exactly the type of show they are in, and their performances met the mark in equal measure. Lastly, this show would not be who it is without its ensemble. The killer choreography by Jennifer Weber is the main opportunity this company gets to tell the story, and they make the most of every step, turn, and leap. Bex Robinson particularly stood out as one of the best in the ensemble, earning attention in every number without pulling focus away from the center of the story. 

Musical Standouts 

● “Blow” – A high energy club-kid number filled with kinetic lighting and infectious choreography, complemented by incredible sound design that raised the dramatic stakes throughout. 

● “It’s My Life” – A hysterical and riotous return for Romeo filled with flying set-pieces and frenetic energy throughout. Torres really shines in this number specifically. ● “One More Try” – A heartfelt and emotional scene between Juliet & Romeo that questions a new beginning without letting Romeo off the hook. The projections and scenic design are beautiful throughout this. 

● “That’s the Way It Is” – Anne’s 11 o’clock number that brings the house DOWN! A tender yet fierce proclamation that re-energizes the show in it’s final stretch. ● “Everybody (Backstreet’s Back) – As hilarious and charismatic as you’d expect a Backstreet Boys cover band performance to be, infused with dramatic tension between May and Francois. The audience went crazy for this one! 

&Juliet is playing at Austin’s own Bass Concert Hall NOW until July 19th. As the new season of Broadway in Austin rolls in, you cannot miss the hysterical and high energy musical that has been wowing audiences across America for years! Get tickets at Bass Concert Hall or Texas Performing Arts.

Musical Numbers 

Act I 

– “Larger Than Life” 

– “I Want It That Way” 

– “Baby One More Time” 

– “Show Me the Meaning of Being Lonely” 

– “Domino” 

– “Show Me Love” 

– “Blow” 

– “I’m Not a Girl, Not Yet a Woman”

– “Overprotected” 

– “Confident” 

– “Teenage Dream/Break Free” – “Oops!…I Did It Again” 

– “I Kissed a Girl” 

– “It’s My Life” 

Act II 

– “Love Me Like You Do” 

– “Since U Been Gone” 

– “Whataya Want From Me” 

– “One More Try” 

– “Problem/Can’t Feel My Face” – “That’s The Way It Is” 

– “Everybody (Backstreet’s Back)” – “As Long As You Love Me” – “It’s Gonna Be Me” 

– “Stronger” 

– “Shape of My Heart” 

– “Fuckin’ Perfect” 

– “Roar” 

– “I Want It That Way (Reprise)” – “Can’t Stop the Feeling” (Bows)