POP GOES THE SHAKESPEARE

A dazzling cast and spectacular production numbers
can’t disguise the musical’s lack of dramatic depth

What if Juliet had decided that Romeo simply wasn’t worth dying for?

That is the premise of & Juliet, the candy-colored jukebox musical that opened Tuesday at the McCallum Theatre in Palm Desert, where the national tour continues through Sunday, November 1.

Featuring a book by David West Read (Schitt’s Creek) and a score drawn from the seemingly endless catalog of pop hits by Max Martin (if you don’t know the name, you certainly know the songs), & Juliet imagines a world in which its heroine survives and discovers that life and happiness need not revolve around a teenage romance.

When William Shakespeare prepares to conclude Romeo and Juliet in the familiar fashion, his wife, Anne Hathaway, has other ideas. Why should Juliet’s story end simply because Romeo’s does? Their battle over the narrative sends Juliet and her friends to Paris in search of love, independence, and themselves.

The result is a bubbly celebration of female empowerment, delivered with enough glitter, confetti, and pop anthems to fill a stadium concert. But the show’s relentlessly cheerful disposition eventually becomes a liability.

The production’s greatest asset is its exceptional cast, led by Fabiola Caraballo Quijada as Juliet. Quijada possesses a powerhouse voice, remarkable stage presence, and youthful vitality that make her ideal for the role.

CJ Eldred is thoroughly entertaining as Shakespeare, embracing the playwright’s ego with infectious comic energy. Opposite him, Crystal Kellogg brings wit, authority, and vocal strength to Anne Hathaway. Their sparring provides some of the evening’s most enjoyable moments.

Paul-Jordan Jansen is terrific as Lance, François’s wealthy father, balancing broad comedy with warmth. Sarah Nairne is equally engaging as Angélique, Juliet’s nurse and Lance’s love interest. Together, they bring welcome maturity and romantic chemistry to a musical otherwise dominated by adolescent declarations of love.

Oliver Edward brings charm to François, while Joseph Torres delivers the requisite swagger and vocal prowess as Romeo. Nico Ochoa also demonstrates considerable talent as May, although the character exposes one of the book’s most frustrating shortcomings.

May, Juliet’s nonbinary friend, offers an opportunity to explore one of the musical’s most timely and poignant storylines. Questions of identity, belonging, acceptance, and living authentically deserve more than broadly drawn character traits. Unfortunately, May too often feels like a caricature rather than a fully realized human being.

There is genuine emotional potential in May’s relationship with François, particularly when so many continue to struggle for the freedom to love and identify on their own terms. A more nuanced exploration could have provided much-needed dramatic weight.

The same criticism extends to Read’s book. Its central conceit is clever, with some genuinely funny moments, particularly between Shakespeare and Anne. But conflicts resolve too easily, and emotional revelations are announced rather than earned. The musical celebrates empowerment and individuality without adequately exploring the complexities that make those themes meaningful.

Then there is the score.

Martin’s impressive catalog includes hits made famous by Britney Spears, Katy Perry, the Backstreet Boys, and Kelly Clarkson. The challenge with any jukebox musical is making familiar songs serve the story rather than the reverse.

At its best, & Juliet succeeds beautifully. Clarkson’s “Since U Been Gone” is inspired for Juliet’s liberation from Romeo, while Perry’s “Roar” aptly expresses newfound independence. Both serve the narrative while delivering crowd-pleasing excitement.

Others are less successful. The Backstreet Boys’ “Larger Than Life” feels more like an excuse for a production number than a necessary development. Too often, another recognizable hit is squeezed into the proceedings. Recognition alone is no substitute for dramatic purpose.

The production values are first-rate. Soutra Gilmour‘s scenic design creates a vibrant theatrical playground, complemented by Paloma Young‘s costumes, Howard Hudson‘s lighting, and Andrzej Goulding‘s video design. Jennifer Weber‘s high-energy choreography keeps the talented ensemble moving, while Luke Sheppard‘s direction maintains precision and enthusiasm.

One technical element, however, warrants criticism: the sound.

Is anyone else growing weary of Broadway musicals where vocalists seem to be competing with the orchestra rather than being supported by it?

Despite the extraordinary voices onstage, the accompaniment sometimes overwhelms the singers, diminishing lyrical clarity and emotional impact. Particularly in a score-driven musical, excitement and musical balance should not be mutually exclusive.

Ultimately, & Juliet‘s ambitions seem considerably smaller than its production values. Its worthwhile messages about independence, self-acceptance, and writing one’s own story are delivered with such relentless sweetness and predictability that the evening occasionally resembles a motivational greeting card set to a pop playlist.

Still, the extraordinary company sings, dances, and performs with an energy and commitment that elevate material frequently unworthy of their abilities.

& Juliet may not offer much dramatic nourishment, but as a brightly packaged, pop-infused confection, it certainly knows how to put on a show.

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photos by Evan Zimmerman for MurphyMade

& Juliet
North American tour
2 hours, 30 minutes with intermission
McCallum Theatre, 73000 Fred Waring Drive in Palm Desert
for tickets (from $64), visit McCallum Theatre
ends on November 1, 2026 in Palm Desert

tour continues; for dates and cities, visit & Juliet

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