Istvan Dugalin ➤

Vanessa Sears and cast of & Juliet (Toronto Company) | Photo by Dahlia Katz

Knowing only the basic concept, I’ve been somewhat wary and dismissive of this Shakespearean jukebox musical mash-up, so I was absolutely not prepared to fall so hard for its flashy, cornball charms. & Juliet, presented by Mirvish, is a carnival ride set to banger after banger and this company just owns each and every one of them! I had the best time and was unabashedly crushing on everyone here!

On paper, the premise sounds a little too cutesy—a feminist reworking of Romeo and Juliet that asks: what if Juliet didn’t kill herself and found a life after Romeo? This earnest and whimsical execution, however, smooths out even the most contrived aspects. I was fully on-board to root for Juliet (Vanessa Sears) as she embarks on an adventure—ditching Verona for Paris!—where everyone is belting some of the most popular hit singles of the past two decades.

While not exactly deep, David West Read’s very clever book gives us some truly endearing characters, pokes playfully at historical context with a giddy, contemporary sensibility and drops plenty of Shakespearean textual references with enough restraint to prevent any eye-rolling or fatigue. Though all this is meant as an empowerment fable, I posit that fate is still very much present here as a sort of cosmic DJ, spinning the hits to keep us all in da club. 

Max Martin’s songs—written for such performers as Britney Spears, Celine Dion, Backstreet Boys, NSYNC and Katy Perry—provide a burst of nostalgia, of course, but their appeal here is enhanced by truly inspired re-contextualization and powerful, committed performances.

With his rambunctiously eager troupe, William Shakespeare (George Krissa, really hamming it up in this cocky, playboy version of the bard) is about to present Romeo and Juliet, but his wife, Anne Hathaway (Julia McLellan) decides she’d like to collaborate on an ending that gives Juliet a little more agency. As the story unfolds, each scrambling for control over it, we discover there own marital issues informing this revision of the classic tale. McLellan’s heartfelt “That’s The Way It Is” is a vocal highlight.

Sears, whose talents and charisma elevate pretty much any material that comes her way, is a powerhouse lead here. Fierce, supportive, and vulnerable, she’s a vibrant hub for this kinetic spectacle. Her passionate renditions of “Stronger” and “Roar” are goosebump-inducing. As her non-binary best friend, May, Matt Raffy stole my heart in many scenes, beginning with their aching rendition of “I’m Not a Girl, Not Yet a Woman.”

Sarah Nairne’s Angelique, Juliet’s nurse, is a delightfully big and expressive personality here. Her romance with Lance (David Silvestri) provides some middle-aged experience to this youth-centric affair. During their “Teenage Dream,” it occurred to me how satisfying it was to see maturing folks being cool and joining in all the fun.

Juliet just can’t seem to escape falling into marriage with guys she’s known for less than a week. François is another young man struggling to break free from oppressive parental expectation. Brandon Antonio is beyond adorable here. While they dig each other, François is actually in love with May. The closing Act One reveal that Romeo (David Jeffery, in a deliciously clueless, sad-boy mode) is still alive adds further drama to an already tense situation! The resolution is joyous and cathartic, though, for all concerned, but most crucially, is empowering for Juliet.

Director Luke Sheppard’s stylish production has such glorious texture and momentum. Celebrating the pop music sensibility, Jennifer Weber’s choreography has the cast busting out moves like late 90s boy and girl bands. The fusion of Elizabethan and contemporary aesthetics is gorgeous and surprisingly organic. Paloma Young’s striking costumes, drawing on classical garb, have a distinctly modern flavour—doublets and kirtles paired with joggers and torn jeans. They’re so funky and, without being especially revealing, very sexy.

Within its grounded facade of graffitied brick, Soutra Gilmour’s scenic design features an abundance of fanciful elements flown in and out from the rafters and trap doors in the stage, enhancing the momentum of the action with opposing turntables. Andrzej Goulding’s video design provides a variety of star-scapes, fireworks, environmental extensions and ornate graphics to make moments pop with playful visual punctuation.

The thrill here reminded me of the first time I saw Moulin Rouge! (the film). There’s some Baz Luhrmann rattling about in this hyper-stylized, pop culture take on a classic tale. Is the confetti explosion finale too much? You betcha! Not everything needs to be moderate, sometimes you need to be drenched in festive mess.

& Juliet
December 3, 2025 to May 17, 2026
Royal Alexandra Theatre
(260 King St West)
2 hours, 30 minutes (with intermission)

George Krissa, Vanessa Sears, Julia McLellan, and Sarah Nairne in & Juliet (Toronto Company) | Photo by Dahlia Katz