& Juliet
Opening Night: November 17, 2022
Theater: Stephen Sondheim Theatre
Website: andjulietbroadway.com
Created by the Emmy®-winning writer from “Schitt’s Creek,” this hilarious new musical flips the script on the greatest love story ever told. & Juliet asks: what would happen next if Juliet didn’t end it all over Romeo? Get whisked away on a fabulous journey as she ditches her famous ending for a fresh beginning and a second chance at life and love
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November 17, 2022
Allow Juliet to reintroduce herself. Or rather, let Anne Hathaway do it for her. No, not the Oscar-winning actress known for “The Devil Wears Prada.” The Anne Hathaway I’m referring to is William…
READ THE REVIEWNovember 17, 2022
A diverting synthetic crossbreed of Moulin Rouge!, Something Rotten!, Mamma Mia! and Head Over Heels, this show delivers just what you’d expect. It is what it is: It gives you the hooks and it gets the ovations.
READ THE REVIEWMelissa Rose
Bernardo
November 17, 2022
Mix the single-artist salute Mamma Mia! with the contempo-pop stylings of Moulin Rouge!; add a healthy dose of the Shakespeare-themed Something Rotten, and a sprinkle of the Renaissance-grrl-powered Six… and you’ve got some idea of what’s in store for you at & Juliet, the candy-colored glitter bomb of a show that just opened at the Stephen Sondheim Theatre.
READ THE REVIEWFrank
Scheck
November 17, 2022
Book writer David West Read (Schitt’s Creek) somehow manages the difficult feat of weaving the goofiest of pop songs into the Elizabethan proceedings with almost sublime ingenuity.
READ THE REVIEWJohnny
Oleksinski
November 17, 2022
This sporadically fun musical from — where else! — Great Britain with a loony book by David West Read suggests this idea is somehow very feminist; that taking a dagger for your poisoned man is the ultimate failure of the Bechdel test.
READ THE REVIEWBrain Scott
Lipton
November 17, 2022
While there’s not a bad performance to be found, this slightly tricky material rests on the legs and shoulders of Courtney, a relative newcomer, who delivers both her spoken and musical material with complete assurance
READ THE REVIEWLeah
Greenblatt
November 17, 2022
There’s something a little relentless about & Juliet‘s dogged eagerness to entertain, but nakedly joyful too: a violent delight, flipped for the TikTok era.
READ THE REVIEWNovember 17, 2022
This nonstop party-empowerment show gets its theme of feminist revisionist British history from “Six,” its Shakespearean humor from “Something Rotten,” its nonbinary savvy from “Head Over Heels,” and its collage-like spectacle from “Moulin Rouge.”
READ THE REVIEWNovember 17, 2022
Shakespeare’s Juliet singing Britney Spears’ “Oops…I Did It Again” is certainly a surprising and unexpected juxtaposition. While there is every reason to be skeptical of a Shakespearean jukebox musical, “& Juliet” makes it work remarkably well. It’s the most fun you’ll have in a Broadway theater right now.
READ THE REVIEWNovember 17, 2022
It’s not that & Juliet is unenjoyable – it isn’t. Somewhere beneath the bombast and repetition and overwrought-from-minute-one approach is a sweet(ish) and smart(ish) tale that gives voice to the marginalized and, not incidentally, provides fans of the music of Britney Spears, Backstreet Boys, Katy Perry, Kesha, Demi Lovato, Ariana Grande, Bon Jovi, Celine Dion, Pink and Justin Timberlake a chance to hear their favorite songs in a musical that makes no secret of its identity: A jukebox takes early pride of place on the set.
READ THE REVIEWJonathan
Mandell
November 17, 2022
It also means that “& Juliet” is more accurately described, not as a sequel, but as a rewrite of “Romeo and Juliet,” though it is nothing close to that.
READ THE REVIEWNovember 17, 2022
The wit operates on many levels in the musical “& Juliet,” starring Lorna Courtney, at the Stephen Sondheim Theater in Manhattan.
READ THE REVIEWNovember 17, 2022
But in refusing to take itself deadly seriously reminds us that theatre doesn’t have to look a certain way or fulfill specific mandates to be worthwhile. Sometimes having a good time is enough―something that was acceptable for tired, old, businessmen, but that has been denied younger and queerer audiences for decades.
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