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& Juliet


Shaftesbury Theatre

210 Shaftesbury Avenue, London WC2H 8DP 020 7379 5399

& Juliet
  • Synopsis
  • Theatremonkey show opinion
  • Reader reviews
  • Performance schedule
  • Ticket prices

16th March 2020.
At this time there are NO performances of ANY production taking place in the West End or other London venues.

Stay safe, stay well.

What happens after Romeo dies? A jukebox musical considers the idea.

 

 

Not available. Professional reviewers agree that it is noisy, raucous and contains loud pop-songs and a thin plot. The number of stars given corresponds to whether or not they like that kind of thing. For those that do, they note some strong performances and decent jokes. Those who don't find it yet another nail in the musical theatre coffin. 2 stars if you dislike this kind of musical, 4 or even 5 stars if you want an intellectually less stimulating romp through some tunes of your 90s childhood, seems to be the verdict.

Legacy reader reviews

I totally agree to your summary of professional reviews. But although it is a Jukebox musical - which I usually do not prefer - the show is really good. Especially because it does not regard itself as too serious. The way they “use” the well known pop songs to underline the (thin) plot makes it good entertainment. We all have seen jukebox musicals with less good ideas.

And the performers do a good, many of them an outstanding, job.

OK, you see that everything in the show is planned to achieve an effect, but many of them are good.

By the way - the day seats have a great price for a good view. But some of the pictures - the stage design created - are not (good) viewable from this row. Here row 8 or 10 and behind (or on the upper levels) will give a much better view, that could be worth paying the price for it.
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& Juliet asks an interesting question: What if, when Juliet awoke from the sleeping draught she took, rather than take her own life... she decided to live it?

The play starts as William Shakespeare completes the final scene... which doesn't go down well with the cast, or with Anne Hathaway, who has travelled down to London to see her husband.  She suggests a different direction....

...and history's about to get overthrown (sorry, wrong musical.  I will come back here later).

Juliet, her friends April and May (April, May, July-et!) along with Juliet's Nurse move from Verona to Paris, and life becomes even more complicated.

So that's the story, what about the show?  This is a jukebox musical, but rather than being a vehicle for an artist, & Juliet draws upon the extensive catalogue of Max Martin, a man who has penned more US No. 1 singles than anyone... except Lennon and McCartney.

So we're sound with the music. The storyline?  Like any good Shakespearean comedy there are multiple romances, triangles and trysts.  

Not giving the game away, but the story ties itself in a knot it never truly resolves around the half-way mark.  But this doesn't overshadow the fun.

& Juliet is in your face.  It's lively and brash (and loud), but it also has gentle comedy and very tender moments, especially from May, who is struggling with gender and identity (the rendition of "Not Yet A Woman" is touching).  There are jokes that hit the mark perfectly, segues into musical numbers that rival Mamma Mia! for cheese.  And the cast all give it everything they've got.

If you're happy to run with a wafer-thin base plot and enjoy the music of Max Martin, then I'll happily recommend this show.

But I can't help compare to the West End's other history-bending show.  SIX has a combination of joy, tightness and original songs (albeit based on various artist's styles) that & Juliet just doesn't match.  And SIX deals with it's significant other in a more satisfying way.

But & Juliet takes the jukebox musical in a new direction, one that is a lot of fun.

Bob Pickett.
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"We made a return visit to '& Juliet' on Monday night (17th February 2020). The show is completely bonkers but great fun, and has lost none of it's sparkle since Manchester. We had understudies for both Shakespeare and Anne who weren't quite as good but the rest of the show made up for it. Miriam Teak-Lee was superb again, and Jordan Luke Gage (what is it with this show and double barrelled names?!) went even further OTT as Romeo which lived things up no end. I would say that by 2/3 of the way through the first act you think its gone as far over the top as its going to go, but then the ending of act one ramps it up even further. Whether its as clever as it thinks it is I don't know, and a certain amount of plot goes missing towards the end in the journey to empowerment, but frankly that doesn't matter; if by that point you haven't bought into it then I don't think deepening the plot would make any difference. I suspect we will be back, it is now my wife and I's new guilty pleasure!!! The production values remain high and huge credit to the sound team for ensuring that despite the volume you can hear every word. 

We sat in the stalls seats E 8 and 9, these were the end of a row. A corner of the stage was missing but nothing missed. However, I specifically booked these for the leg space as the Shaftsbury is notoriously tight for someone of my stature, and indeed in this seat there was no room to move; the only advantage was a quick exit for standing at the interval. But when I booked at the box office I could have had row f but was assured there was absolutely no difference, even after I asked if one had more room than the other. So I was a little annoyed to get to the seat and find that if I had taken F then I could have stretched out fully into the space in front. So if legroom is important and still an ok view, the end of Row F is recommended. 

Special mention to the usher Madjit who moved quickly to silence the gaggle of hysterical teenage girls in front of us (school party, teacher sat miles away who spent more time whipping them up and providing them with sugary treats than policing) who were screaming and gossiping every time a certain ensemble member whom they fancied came anywhere near. He said what was in my head but a lot more tactfully!
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I have so far resisted jukebox musicals feeling generally suspicious about the songs being created before and not integral to the story. 

However, this one I thought might be different - I thought the concept sounded fun and like the songs. I was wrong. It probably wasn’t helped by the fact that there were three understudies in the leads (including Juliet- and I had particularly wanted to see Miriam Teake Lee). Not there there was anything wrong with them personally- but I think it may have affected the dynamic of the show.

The script and it’s delivery was almost pantomime in delivery (I’m told this is the usual style and nothing to do with the understudies). The songs themselves seemed repetitive without the variation and scope of a true musical - none of them seemed to big enough to compensate for the very weak plot.

My favourite - the only one I really liked was David Bedella and Melanie La Barrie’s Teenage Dream. That said, there were plenty of people in the audience who were enjoying themselves and maybe it’s just a personal thing. 

I’ll probably try another jukebox musical in future - I’m still prepared to be converted. But this one certainly wasn’t going to do it for me. 
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Saw the brilliant '& Juliet' from Dress Circle D13/14 for an amazing £35 through TodayTix! Excellent and clear view of the stage. Absolutely fantastic seats for that price! Also highly recommend the show!

The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Monday to Saturday at 7.30pm
Thursday and Saturday at 2.30pm and 7.30pm

Runs 2 hours 30 minutes approximately.

Theatres use "dynamic pricing." Seat prices change according to demand for a particular performance. Prices below were compiled as booking originally opened. Current prices are advised at time of enquiry.


Monday to Thursday
Stalls

Rows A to U: £75 except:
"Premium Seats" rows E to K 15 to 22: £99.50
Rows V and W: £62.50
Rows X and Y: £50

Dress Circle
Rows A to K: £75 except
"Premium Seats" row B to D 15 to 22: £99.50
Rows L and M: £62.50

Upper Circle
Rows A to C: £50
Rows D and E: £40
Row F: £30
rows G to J: £22.50

Boxes: 
D and H £75 per seat. 
C and G £62.50 per seat.

 

Friday and Saturday
Stalls

Rows A to U: £75 except:
"Premium Seats" rows E to H 13 to 24; J and K 15 to 22: £110
Rows V and W: £62.50
Rows X and Y: £50

Dress Circle
Rows A to K: £75 except
"Premium Seats" row B to D 13 to 24: £110
Rows L and M: £62.50

Upper Circle
Rows A to C: £50
Rows D and E: £40
Row F: £30
rows G to J: £22.50

Boxes: 
D and H £75 per seat. 
C and G £62.50 per seat.

 

Day Seats: A limited number of tickets, usually 20 in stalls row B (front row), are available to personal callers at the box office from 10am, priced £20 each. Limited to maximum of 2 per person in the queue. Check with the box office before travelling if a day seat policy is still in operation.  

A "Family Ticket" for 5 or more people can be purchased on 020 7297 5399 for all Monday to Friday performances until 29th January 2021. It reduces top non-premium price seats to £49.50 each (booking fee applies) when a minimum of 5 tickets are purchased for a single performance in a single transaction.

 

Some details may change. The monkey will update as available.
 

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