& Juliet (CLOC), at National Theatre - 2 hours 30 minutes, including interval

A melodic, fun-filled musical about female empowerment, CLOC’s production of & Juliet is sensational.

In short, it is a rewrite of Romeo & Juliet, with William Shakespeare’s wife Anne Hathaway (Sharon Wills) taking the quill in hand and inserting herself into the action.

Photos by Ben Fon

In this version, Juliet doesn’t die and Romeo is a womaniser. Neither are teens. Both are in their twenties.

Anne Hathaway is sick and tired of all but raising the children by herself in the country, while Will Shakespeare (Sam Anderson) basks in the glory of his writing in the city, which he prioritises.

With their marriage on shaky ground, she takes it upon herself to reimagine the end to the tale of the star-crossed lovers.

Upon Romeo’s death, Juliet (Guada Banez) leaves Verona to try to find her voice, away from the toxic influence of her parents.

She heads to Paris to party with her bestie May (Mak Russell Gill), her nursemaid Angelique (Sarahlouise Younger) and her new friend April (the name Anne Hathaway has chosen as her character).

It is there that she meets Francois (Will Woods), who, much to his chagrin, his haughty father Lance (Shaun Kingma) is desperately trying to marry off.

Francois (Frankie) and Juliet connect instantly over Lance and her parents misfiring attempts to control their lives.

Separately, there is also an unmistakable spark between May and Francois.

So, too a raging blaze between Lance and the nursemaid, who used to work for him, before his wife passed. 

Then, just to add fuel to the fire, Shakespeare brings Romeo (Tim Maguire) back from the grave.

Hijinks abound as relationships are sorely tested. 

With music by Max Martin and friends, and book by David West Read, & Juliet made its West End debut in 2019, before appearing on Broadway in 2022.

The jukebox musical premiered in Melbourne the following year.

Replete with full throated, honeyed voices and soaring harmonies, CLOC’s production of & Juliet is highly energetic and most entertaining.

Individually and collectively, I am in awe of the mellifluous vocals that emanate from Guada Banez and Sharon Wills. Both sound sublime. I also greatly appreciate the attitude they bring to bear in their respective characterisations.

Sam Anderson channels pomposity as Will Shakespeare. Sarahlouise Younger is particularly appealing and not to be messed with as Angelique. As Lance, Shaun Kingma transitions from arrogant to apologetic.

Mak Russell Gill imbues May with sensitivity. Will Woods presents Francois as a torn figure, while as Romeo, Tim Maguire quickly finds himself put in his place.

Together with an enthusiastic ensemble and talented band, under musical director Dan Heskett, they bring vigour to the narrative and score.

Hit after hit generates thrills and acclamation.

From Baby One More Time and Show Me The Meaning Of Being Lonely, to Show Me Love and I Kissed A Girl, From Love Me Like You Do and Whataya Want From Me to Stronger and Roar, I couldn’t get enough of the musical cavalcade.

Superb choreography from Felicity Bender and tight direction from Karl McNamara ensures there is never a dull moment.

There is so much to love about the colourful costuming by Victoria Horne that really pops.

Andrei Chlebnikowski’s lighting is electrifying, while Marcello Lo Ricco is at the top of his game in sound design.

My only real reservation was the thick wooden sets, which I saw as a misstep.

Although they are readily wheeled in and out, they appear dated and heavy handed.

While I could certainly have done without that, in every other respect & Juliet is triumphant and another major success for CLOC.

For a show that celebrates nonconformity and gender dysphoria, it resonates strongly.

It is on at The National Theatre until 25^th October, 2025.

To buy tickets, go to https://boxoffice.cloc.org.au