Charlotte Thornton reviews & Juliet, presented by G&T Productions, directed by Hamish Mouat, choreography by Destiny Anderson, music and lyrics by Max Martin and friends, book by David West Read, at the Isaac Theatre Royal, Saturday 30 May 2026.
Was 2019 a long time ago? Chronologically, no. Culturally, yes.
2019 saw the West End premiere of jukebox musical & Juliet, a sequel of sorts to William Shakespeare’s famous doomed romance. It features a #girlboss revision of the original ending: Anne Hathaway takes control of her husband’s play and sends Juliet off to France instead of the undiscovered country. It’s only been seven years since the show’s premiere, but its message already feels dated, despite the dazzling efforts of this cast and creative team.
& Juliet’s 2026 New Zealand Tour, directed by Hamish Mouat, is spending its Ōtautahi Christchurch leg at the Isaac Theatre Royal. It’s a perfect venue, with great sound and appropriate details: characters from A Midsummer Night’s Dream adorn the ceiling, and a portrait bust of Shakespeare casts a watchful eye.
& Juliet’s goal, as its book by David West Read declares, is to find a “better ending” for Juliet. It does not find such an ending, but I’ll admit that Shakespeare is stiff competition. Its plot bends skilfully around the music of Swedish songwriter Max Martin, who has written 29 U.S. #1 hits for artists like Britney Spears, Katy Perry, and Demi Lovato. Audience members who barely listen to pop music will still recognise at least half of the songs and will have to try their best not to sing along. The choreography by Destiny Anderson is spectacular, with the highlight being “Everybody (Backstreet’s Back)” for its elegant nods to the original music video.
The cast is led by Kristin Paulse as Juliet, a bubbly Ariana Grande type with a bright voice and a bright future. Her connection with the Nurse, here named Angelique (a charming Lavina Williams) is believable and well-handled, despite an early microphone issue during their first scene together which pauses the show for several minutes. Paulse and Williams handle the situation with grace, earning rounds of applause from the enthralled audience.
& Juliet’s two-tiered backdrop looks like a Verona courtyard embellished with the glittering lightbulbs of Moulin Rouge!. This set is backed by a large screen which displays video throughout the show. The glossy video design is eye-popping, but it overwhelms the central action (especially one or two Paris backdrops which look suspiciously AI-assisted).
The accomplished Matu Ngaropo plays William Shakespeare, invoking his playboy portrayal of the bard from the Court Theatre’s excellent production of Something Rotten!. Ngaropo’s flawless comedic timing anchors the show and makes the framing device a joy rather than a distraction. Particularly in scenes with Anne (a lovely Awhimai Fraser), Ngaropo injects equal amounts of humour and heart into his too-few moments on stage.
The cast is a bit crowded, with plenty of new characters in addition to unavoidable figures from Romeo and Juliet. New to the story is Francois DuBois, played by Ōtautahi-born Josh Johnson with clever sweetness, though I’m confused by his bizarre costume: grey trackpants, a jean vest with matching baseball cap, and giant Harry Potter spectacles. You might be able to tell from Francois’ full name that this script’s comedy is broad. French viewers, be warned that the berets are bedazzled – this France is more Emily in Paris than Les Misérables.
On the Shakespearean side, Andrew Papas shines as Romeo, bringing depth to the “douche drama queen” on the page. Romeo is a lover boy, clearly inspired by the members of NSYNC and Backstreet Boys who Max Martin began his career writing for. Andrew Papas used to be in a boy band himself – Titanium, from 2012 to 2014 – and looks right at home in those ripped jeans.
The show’s gender politics are surface level – there are no fewer than three uses of “yas queen” – which does a disservice to the character of May, a new friend to Juliet played by Jared Pallesen. Pallesen is a fantastic singer and an endlessly lovable actor, but they are stuck in an underdeveloped role. Pallesen was divine as Robin in the aforementioned Something Rotten! and he brings that same pixie-like good humour to this role, even as the song selections “I Kissed a Girl” and “I’m Not a Girl, Not Yet a Woman” threaten to reduce May’s identity down to a play on words. Still, the choice to stage a show with an explicitly non-binary character is an honourable one, especially in the present moment. I hope May inspires audiences to submit on the Legislation (Definitions of Woman and Man) Amendment Bill. It’s what Shakespeare would have wanted.
The ensemble delivers perfect vocals and dance performances but sometimes clutters the space in dialogue scenes. Their exuberant energy is ideal for the elaborate dance numbers, like “Blow” and “Problem/Can’t Feel My Face,” but in quieter moments this energy tends to pull focus away from the leads. It doesn’t break the flow, though, since & Juliet is a total crowd pleaser. I’ve rarely heard an audience this enthusiastic and emotionally involved. During a kiss, a nearby punter gasps in shock; during another kiss, the same punter coos with delight.
If you’re someone who hates musicals, & Juliet won’t change your mind. If you’re someone who hates Shakespeare, though… & Juliet might just get you into his “words, words, words” – even if it doesn’t mean to.
& Juliet plays until Saturday 13 June 2026.
Flat City Field Notes 