The story focuses on "what if" Juliet hadn't died at the end of Shakespeare's Romeo and Juliet Plot Act One. When most people sit down and think of Romeo and Juliet, images of … The approach is visceral and ferociously on the side of the young people at its heart, which is appropriate since one of the features of this production is that it deliberately showcases dancers who are at the start of their careers, and each member of the creative team is also shadowed by a young artist. While Juliet sits stunned, her sense of self destroyed, he rewinds the events of his life, spooling back to the moment when, instead of approaching her at the Capulet ball, he could have turned away. Starring Miriam-Teak Lee in the title role, the musical features music from Martin's extensive pop catalog, including Britney Spears' "Baby One More Time," the Backstreet Boys' "Everybody," and The Weekend's "I Can’t Feel My Face.". When a drunken Tybalt arrives, you know tragedy is on its way. Worse … they grew old together, Mon 19 Feb 2018 02.00 EST Rounding out the cast of & Juliet are Cassidy Janson, Oliver Tompsett, David Bedella, Arun Blair-Mangat, Jordan Luke Gage, Melanie La Barrie, Tim Mahendran, Jocasta Almgill, Josh Baker, Ivan De Freitas, Rhian Duncan, Danielle Fiamanya, Kieran Lai, Nathan Lorainey-Dineen, Jaye Marshall, Grace Mouat, Antoine Murray-Straughan, Billy Nevers, Kerri Norville, Christopher Parkinson, Dillon Scott-Lewis, Kirstie Kivington, Alex Tranter, and Sophie Usher. Available for everyone, funded by readers. The energy this produces is visible on stage. The reviews are in for the West End premiere of & Juliet, a new musical from Swedish songwriter, record producer, and singer Max Martin, which imagines Shakespeare's tragic character in very different circumstances. Box office: 020-7223 2223. Joyously daft musical riff on ‘Romeo & Juliet’, based on the hits of pop maestro Max Martin ‘& Juliet’ is a heavily ironic Shakespeare rewrite based on the songs of super-producer Max Martin. They don’t die in the tomb but elope, set up house and produce a daughter, Sophie. & Juliet is a 2019 musical featuring the music of Max Martin, with a book by David West Read. The wrenching shock of Bourne’s new version, set in the white-tiled Verona Institute, where groups of young people are drilled and drugged into conformist submission, is how huge a leap of imagination he has made. They might be in Shakespeare’s traditional version, or Kenneth MacMillan’s ballet, or Baz Luhrmann and Franco Zeffirelli’s films.

From “Wicked” to “Waitress,” female empowerment has been a boon for musical theater. Matthew Bourne’s Romeo and Juliet trailer. Copyright 1991-2020 © Playbill Inc. All Rights Reserved. Though the second act lacks the absolute driving clarity of the first, Bourne’s denouement is as full of surprise as his setting. Michael Ball, Alfie Boe, Carrie Hope Fletcher, and Matt Lucas will star. On one level, Duke’s work is a finely observed portrait of any marriage, where familiarity has replaced the first hormonal, metaphysical rush of desire. You’ve got to hand it to Matthew Bourne, choreographer extraordinaire. All of Bourne’s choreography has an intricate fluency, so full of ideas that it is hard to absorb. Romeo (Paris Fitzpatrick) enters with his uncaring politician parents, a sad clown of twitches and effortless jumps to cling to the ladder that reaches up to the viewing balcony of Lez Brotherston’s prison-like setting. On opening night we saw the scene where he meets a lively Mercutio, his boyfriend Balthasar and his mate Benvolio twice because Reece Causton, due to dance Mercutio, broke his ankle in an accident in the wings and his replacement, the dashing Ben Brown, had to be rushed to the theatre. On another, the particular pathos of this couple is that they’re haunted by the idealised versions of themselves, in Shakespeare’s play, which they endlessly reread. Read reviews for the London premiere below. They’re approaching middle age and their marriage has hit a rough patch; they no longer talk, and Juliet starts to reveal that Romeo “is having difficulty …”, before he wincingly silences her. But Romeo and Juliet stand still, under the glitterball. Y ou’ve got to hand it to Matthew Bourne, choreographer extraordinaire.

Cassidy Janson, Miriam-Teak Lee, and Melanie La Barrie in, 2020 Tony Award Nominations Announced October 15, Playbill Vault's Today in Theatre History: October 15. The musical is directed by Luke Sheppard (In the Heights) with a book by David West Read (Schitt’s Creek), choreography by Jennifer Weber, and new arrangements by Tony and Grammy-winning orchestrator Bill Sherman. Juliet and Romeo is at Battersea Arts Centre, London. All rights reserved. Set design is the work of Soutra Gilmour, costume design comes from Paloma Young, sound design is by Gareth Owen, lighting design is courtesy of Howard Hudson and choreography comes from Jennifer Weber. •Juliet and Romeo is at Battersea Arts Centre, London, until 24 February. The show is produced by Max Martin, Tim Headington, Theresa Steele, Jenny Petersson, and Martin Dodd. Every moment of the Luke Sheppard-directed production is soundtracked by one of Martin's power-pop hits – songs made famous by Katy Perry, Ellie Goulding, Kelly Clarkson, Robyn et al. & Juliet features costume design by Paloma Young, set design by Soutra Gilmour, lighting design by Howard Hudson, and sound design by Gareth Owen. Read Reviews for the New Max Martin Musical. Throughout the show, they tussle over plot, with Anne constantly trying to give Juliet freedom and agency, and Will retaliating by bringing Romeo back from the dead.

There’s a punch to the steps, as the white-clad young people march to the insistent rhythms of the Dance of the Knights, their arms pulled in and up, fists clenched, punctuating their progress with little runs, twisted jumps and stamps. Just as Terry Davies’s reconfiguring of Prokofiev’s score makes the familiar sound strange and edgy, Bourne’s approach lets an overworked story take on a different life.
Shakespeare’s lovers sit side by side in matching armchairs, a pot plant in the space between. & Juliet the musical: Review. Following a limited run in Manchester, & Juliet is currently playing London's Shaftesbury Theatre. & Juliet, built around the music of songwriting savant Max Martin, takes this wry premise, douses it in glitter and runs with it. Last modified on Thu 26 Mar 2020 08.32 EDT. This modern rewrite of the Shakespeare classic is an honest story of growth and movement, without being forced into a … Full of insight and invention, this is a thrilling rethinking of this tale of woe. Tybalt (a thuggish Dan Wright) is a threatening guard with his eye on the charms of inmate Juliet (radiant Cordelia Braithwaite). 1,385 organizations received funding, including the Young Vic, Theatre Royal Bath, Soho Theatre, and over 300 other theatres. © 2020 Guardian News & Media Limited or its affiliated companies. Sign up for exclusive discounts and save up to 50% on tickets! & Juliet is Martin’s first musical production. The piece is, from beginning to end, stunningly danced, with Braithwaite making Juliet shine with determination and vigour, and Fitzpatrick endowing Romeo with a lovely, dreamy innocence. Romeo and Juliet connect at a dance where sexual energy crackles through the air; when the guards leave the room, the inmates abandon formal moves for dirty dancing, grappling with longing. Miriam-Teak Lee stars in the London production at the Shaftesbury Theatre. It repaid rewatching. Even if they’re living in a dystopia such as Mats Ek’s Romeo & Juliet or in the tougher boroughs of New York in West Side Story, the essential lineaments of the story of young lovers kept apart by the forces of society around them will remain the same.

In the new musical, Juliet gets over Romeo by running off to Paris with Nurse and her best friends on a whirlwind trip of romance and self-discovery. The staged concert of the long-running musical will play London's Sondheim Theatre with a socially distanced configuration.

The point is they are now trying couples therapy, and the clever conceit of Ben Duke’s funny but achingly sad revision of Shakespeare’s tragedy is that the formerly star-crossed lovers are about to embark on a memory exercise in which they have to relive and re-evaluate key moments of their lives. Juliet and Romeo review – star-crossed lovers try couples therapy A finely observed portrait of marriage … Ben Duke and Solène Weinachter in Juliet … Michael Ball, Matt Lucas, Carrie Hope Fletcher, John Owen-Jones, Shan Ako, Killian Donnelly, Zizi Strallen, and Charlie Stemp were among the performers on the ITV broadcast. His writing is fast, inventive and smart; the interleaving of movement, text and music (mostly a selection of pop classics) is expertly paced. In the News: Christiani Pitts Joins Netflix Rom-Com From Alicia Keys, New Series From Off-Broadway's Bedlam to Offer a Shakespeare Mash-Up, Lin-Manuel Miranda and the Original Broadway Cast of, Check the Statuses of Upcoming Broadway Shows During the Coronavirus Shutdown, Well, Maybe Next Year: A Moment for the Shows You Won’t See Nominated for 2020 Tony Awards, Theatre Royal Bath's 'Welcome Back' Season Launches October 14 With Harold Pinter's, U.K.’s Culture Recovery Fund Distributes £257 Million to Arts Venues in 1st Round of Grants, Marc Elliot, Tyrone Huntley, Lucie Jones, Jenna Russell to Headline Streaming Production of. When Juliet prepares to drink the Friar’s sleeping potion, her exultancy is tempered by the memory that the last drug he administered gave her thrush. The first half of the work is pure pleasure as Duke and his partner, Solène Weinachter, dance and talk their way through a blissfully wry, subverted version of Romeo and Juliet. When most people sit down and think of Romeo and Juliet, images of warring families spring to mind. While Romeo adores little Sophie (it’s to her that he speaks the most exquisite lines of Shakespeare), Juliet’s weary, claustrophobic experience of motherhood is compacted into a raging solo involving a truculent toddler, a lost wallet and a parking ticket. As the couple descend to a vicious trading of insults, Romeo admits he never really meant to go through with killing himself.


The truth of how they fell in love also turns out to be far more prosaic than the rarefied narratives of Shakespeare’s play or the Kenneth MacMillan ballet (both of which Duke adroitly references). All rights reserved. The shock lies not just in Romeo’s rejection of his life with Juliet but also in his demolition of the entire romantic myth erected around them; his final, ironic acceptance that life is just random and art a lie. The fall season will continue with Michael Frayn's. That moment of pure joy inspires others: their respective friends celebrate their love like a good deed in a dirty world.


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