Review Roundup: & JULIET National Tour

The North American tour of & Juliet is now underway. Let's see what the critics have to say - check out all the reviews.

The cast includes Rachel Simone Webb in the title role of ‘Juliet,’ Paul-Jordan  Jansen as ‘Lance,’ Teal Wicks as ‘Anne Hathaway,’ Corey Mach as ‘Shakespeare,’ Nick Drake as ‘May,’  Kathryn Allison as ‘Angélique,’ Michael Canu as ‘Romeo,’ and Mateus Leite Cardoso as ‘François.’  

The ensemble includes Naima Alakham, Camille Brooks, Nella Cole, Lois Ellise, Ishmael Gonzalez,  Kenneth Onesimus Goubran, Shelby Griswold, Christopher Robert Hanford, Jourdan Ibe, Josh Jordan,  Nicole Lamb, Yoshi Maysonet, Usman Ali Mughal, Jaydon Nget, Kyra Smith, and Francisco Thurston.

The production is stage managed by Joel Rosen. The company manager is Denny Daniello. 

Featuring songs by the legendary Grammy-winning songwriter/producer Max Martin, a book by the  Emmy-winning writer from “Schitt’s Creek,” David West Read, direction by Luke Sheppard and  choreography by Emmy-Award winner Jennifer Weber, & Juliet opened on Broadway in November  2022, where it continues playing to sold-out crowds and breaking box office records. 

The full creative team for the Broadway production of & Juliet includes David West Read (Book),  Max Martin & Friends (Music & Lyrics), Luke Sheppard (Direction), Jennifer Weber (Choreography),  Bill Sherman (Musical Supervision, Orchestrations and Arrangements), Soutra Gilmour (Scenic  Design), Paloma Young (Costume Design), Howard Hudson (Lighting Design), Gareth Owen (Sound  Design), Andrzej Goulding (Video & Projection Design) and J. Jared Janas (Hair, Wig & Makeup  Design) and Dominic Fallacaro (Music Director, Additional Orchestrations and Arrangements). The  North American tour is music directed by Andre Cerullo. US Casting is by Stephen Kopel, Carrie  Gardner, and Jillian Cimini, CSA. & Juliet is Executive Produced on Broadway and tour by Eva Price. 

Let's see what the critics have to say, and check back for more reviews!

Timoth David Copney, BroadwayWorld: & Juliet brings a fresh and welcomed take on the age-old tale of the star-crossed lovers, peppered with familiar phrases still in use today that the Shakespeare character points out as amusing asides to the audience. By changing the focus from the tragic situation in the original play to a new, upbeat conclusion with the addition of a couple of major tweaks to the story, it becomes a tale of female empowerment led by both of the female protagonists. This version will appeal to a wider, younger audience and as a grateful member of Baltimore’s theatre community, I for one am delighted to see new life breathed into old stories. And just wait until you see how the title is arrived at on stage. I loved the ending, the beginning, and just about everything in between. I bet you will, too.

Chuck Duncan, Hotchka: I really wasn’t sure what to expect from & Juliet. Knowing it is a jukebox musical with already established songs, it does have a bit of a Moulin Rouge vibe (especially with the neon signs), but it also made me think of the fantastic Six with its original music but anachronistic costumes. If those two shows had a baby, & Juliet would be it. And what a bundle of joy it is. A stellar production, pop music you know, and some of the best performances you’ll see this year makes & Juliet one show not to miss when it comes to your town (or nearby).

Lynne Menefee, MD Theatre Guide: Obvious influences from the jukebox musicals “Moulin Rouge,” “Six,” “Head Over Heels,” and the more recent “Once Upon a One More Time” (using the music of Britney Spears) and the hilarity of “Something Rotten” are on display. Important issues of feminism and self-acceptance (and acceptance) are a part of this fantasy that blends two worlds eight centuries apart. That said, it feels like it is trying to do much, skimming over the surface of the issues which are resolved too easily.

Jeffrey Kare, BroadwayWorld: Under Luke Sheppard’s direction, he has everything staged on Soutra Gilmour set, which not only looks evocative of Shakespeare’s plays when they were first performed, but also very retro. Paloma Young’s costumes are also true to the era while still doing something stylish with the clothing. Howard Hudson’s lighting is so eye-popping. Gareth Owen does such amazing work with the sound design, making everything the audience hears on stage very clear without becoming deafening to their ears. Sheppard also provides slick transitions between scenes while Jennifer Weber delivers very energetic choreography. Plus, Bill Sherman’s orchestrations (with some help from Dominic Fallacaro) successfully creates a cohesive sound for all these different pre-existing pop/rock hits.

Lawrence Toppman, The Charlotte Ledger: The real point of the cheerfully brainless musical at Belk Theater is to assemble more than two dozen songs by Swedish producer-writer Max Martin and his collaborators, getting the crowd to “throw your hands up in the air/And wave them around like you just don’t care.” Audience members who did so didn’t mind that author David West Read created an irrelevant subplot about a 19th-century boy band just to shoehorn “(Everybody) Backstreet’s Back” into the tale.

Perry Tannenbaum, BroadwayWorld: With some showy lighting by Howard Hudson setting the glitz aglow, we can simply enjoy. Read tosses out plenty of feminist critiques and barbs in the marital clinches between Will and Anne, the puns and wordplay are delightfully sharp, and guess what? Besides reinventing his own Shakespeare and Anne as stage characters, he often wittily emulates the Bard. Yes, poetry!

Greg Kerestan, BroadwayWorld: The choreography by Jennifer Weber is tight and self-contained; it's one of the first Broadway shows I've seen that successfully roots its choreographic language in the present day. The dance aesthetic's physical tightness in terms of conservation of movement and space covered is clearly designed with the camera's eye in mind, the way studio dancers or TikTok dance influencers choreograph and perform. In keeping with the style, it looks fun and flashy but is not so athletic or presentational that you don't think "I want to go home and try that in front of the camera myself." (I'm FAR from a dancer, but even I could see the appeal in a TikTok trend of the "Roar" dance in particular.)

Sue, PghLesbian: The show is fun, the music is engaging and catchy because of course it is. Kudos to choreography (Jennifer Weber) that was just stunning. The costumes (Paloma Young) were on point, the singing generally good, and the acting was fine.

Kathi Scrizzi Driscoll, Cape Cod Times: The terrific cast includes a finely tuned (vocally and otherwise) ensemble led by four stand-out performances. Webb’s Juliet combines powerhouse vocals with appealing determination and confusion, while Drake’s May offers the poignant view of a frequent outsider. Corey Mach wonderfully plays Shakespeare as an initially self-involved, striving artist, with Wicks’ beautifully nuanced Anne as his struggling wife yearning to give herself and women’s viewpoints a more important place in her husband’s world.

Michael Rabice, BroadwayWorld: In what can only be described as one of the cleverest bits of writing in recent years, the brilliant script by David Rest Read (of SCHITT'S CREEK fame) somehow manages to find a way to update Shakespeare's most famous romantic tragedy and make it a story of empowering women. What would happen if Juliet did not kill herself and leaves Verona to find happiness? Anne Hathaway challenges her husband to avoid the dreary ending, and fashion a new production where the action unfolds as the husband and wife extemporaneously write the new script, as the actors act it out.

Aaron R. Conklin, Madison Magazine: Thanks to David West Read’s snappy book, packed with puns aimed at Shakespeare nerds and plenty of modern pop culture references, “& Juliet” lives mostly in the latter camp, turning 2000s-era bangers and ballads into gut-busters. The show even manages to make two of its three Katy Perry songs relevant, which is no small feat.

Rachel Weinberg, BroadwayWorld: The show’s fun, feminist-lite narrative about reclaiming the ROMEO AND JULIET story is cotton candy fluff, but it has a SIX-like sensibility that makes it clever, too. & JULIET poses the question: What happens if Juliet lived? In a battle of wills (pun intended), the pompous, SOMETHING ROTTEN-esque Shakespeare (Corey Mach, nailing the machismo and charming schtick) and his wife Anne Hathaway (Teal Wicks) duke it out about an alternate version of the classic story. Anne wants to reclaim Shakespeare’s quill and rewrite a story that gives plucky Juliet (Rachel Simone Webb) some freedom and the chance to decide if the airheaded Romeo (Michael Canu, who hilariously and note-perfectly supplies spacey, vapid boy band energy) is truly who she wants.

Tristan Bruns, New City Stage: I haven’t mentioned the story yet because it really doesn’t matter. That sounds cruel, but the show itself is in on the joke and takes delight in ripping Shakespeare to shreds. With the swing of a magic quill pen—a deus ex stylus—the plot shifts like quicksand; yet it gets no more imaginative than Juliet making the same mistake as with Romeo by attempting a quick marriage to Françoise (Mateus Leite Cardoso), who is actually in love with Juliet’s friend May (Nick Drake). In line with the zeitgeist, May expresses gender ambiguity, singing new meaning into “I’m Not a Girl, Not Yet a Woman.”

Chris Jones, Chicago Tribune: “& Juliet” does all of that while also skillfully drawing on the enduring box-office popularity of two of the most famous Shakespearean characters, Romeo and Juliet, here recasting Romeo as a dumb, dreamy, boy-band kind of dude and Juliet as a super-smart seeker of personal empowerment and, of course, a voice she can call her own. It’s axiomatic in the world of musicals that women buy most of the tickets on Broadway.

Catey Sullivan, Chicago Sun-Times: The plot is convoluted, but convoluted plots were definitely a thing with Shakespeare, so stylistically, it tracks. The music — featuring songs made famous by Britney Spears, Pink, Kelly Clarkson, Katy Perry, the Backstreet Boys and REO Speedwagon, among others — is pure ear candy. Weber’s choreography — a wild, wonderful mix of hip-hop, breaking and ballet among other genres — is pure, kinetically stunning eye candy.

Rachael F. Goldberg, BroadwayWorld: While there are strong elements reflective of Gen Z and modern times – including stylistic influences on clothing, props, and language – most people assume this means a “yassified” version of Juliet, a shallow girl-boss who uses modern perspectives to provide heavy-handed critiques on Shakespeare’s works. The fact that this is a jukebox musical, relying on modern pop music (though, in fairness, most of Martin’s hits span Millennial tastes as much as, if not more than, Gen Z), only furthers that impression. But, in truth, what makes & Juliet so wonderful is that it neatly sidesteps these assumptions and brings something far more interesting.

D.R. Lewis, DC Theater Arts: It’s the musical performances and flashy production elements that & Juliet is able to firmly hang its sparkly hat on. Director Luke Sheppard and choreographer Jennifer Weber keep the train moving at all times, resisting any urge to linger for even a moment too long. Music supervisor and arranger Bill Sherman’s contributions are especially critical, reimagining some of the most recognizable songs into new arrangements to both surprise the audience and establish refreshing ebbs and flows in the show’s musical journey.

Cathy Cobbs, Rough Draft: While the songs that are original to the play were entertaining and beautifully choreographed, the performances involving 80s- and 90s-favorites like “Roar,” “It’s Gonna be Me,” and “Everybody (Backstreet’s Back)” truly engaged the audience (yes, there was dancing in the aisles at the end).

D.L. Groover, Houston Press: There are star turns for everyone. Rachel Simone Webb has a knockout voice of unparalleled quality and force, a velvet sheen to her Juliet; Teal Wicks as disgruntled Anne wails like a pop star; Corey Mach as entitled Will struts the stage in mock conceit; Nick Drake as conflicted May flits about until he finds fulfillment in the nerdy arms of Mateus Leite Cardoso’s virginal (and virginal-playing) Francoise. Kathryn Allison’s Nurse and Paul-Jordan Jansen’s French-accented Lance get the laughs as former lovers twice-met; and Michael Canu as a resurrected Romeo, descending from on high on his own neon-lit signboard, has presence in spades. And, of course, the ensemble swaggers all over, twerking and gyrating like a kickline of party crashers.

Rich Lopez, The Dallas Voice: This all couldn’t happen with the enthusiastic cast and its endless energy. Dallas’ own Rachel Simone Webb carried the show like a champ with a stunning voice, sharp dance moves and a performance that tapped into the struggles of a young woman embracing her own identity.

Paul Batterson, BroadwayWorld: Webb’s powerhouse vocals and energy are matched by her comedic timing. Francois sees a quickie wedding as a way to circumvent various parental threats, but Juliet is having “nun” of it. (Shakespeare loves his puns.)

Andria Tieman, BroadwayWorld: Despite a rather thin plot, this show still sparkles due to the depth of talent among the cast. Rachel Simone Webb as Juliet is outstanding–she also played this role on Broadway. Her voice is clear and bright and her stage presence is commanding. It’s refreshing to watch a show where the women really take control of the narrative, in particular, Teal Wicks as Anne Hathaway (Shakespeare’s wife) basically steals the plot from Shakespeare and even inserts herself directly into the play to make sure things go the way she wants.

Gwendolyn Kocher, Scene: Make no mistake, “& Juliet” can be downright ridiculous; Shakespeare pedaling a plastic pony rickshaw from Verona to Paris while singing “Show Me Love” is one of the more tame examples. It makes fun of itself, sometimes poking at the repetitiveness or absurdity of its own lyrics. It throws punches at Shakespeare and his young, barely tween protagonists who married and then killed themselves because of a love fostered over three whopping days. Yet, “& Juliet” isn’t trying to grip you by the throat with its plot, it’s trying to dazzle you. And dazzle it does.

Joey Morona, Cleveland.com: & Juliet” might seem to be intended for a specific type of millennial: the person who watched “Total Request Live” every day after school and was obsessed with the movie “Moulin Rouge.” Know what? Guilty as charged! But that doesn’t preclude the show from being a dazzling, joyful triumph that reimagines a timeless love story with a modern sensibility, sharp wit and a big heart— all set to a beat you can dance to.

Ana-Brit Asplen, BroadwayWorld: However, perhaps most importantly of all, the show makes a direct statement advocating for unapologetic acceptance of one’s own self and others. The central characters learn to stand up for themselves and what they want, defying expectations when the society around them wants them to follow a set of rigid rules.

Taylor Clemons, BroadwayWorld: "I don’t know what else to say except that you should definitely see this musical. It’s fun, fresh, and an all-around treat. It’s a boost of serotonin from the first notes of music, and the party continues through the curtain call. & Juliet is by far one of the best nights of theatre you could imagine."

Adrienne Proctor, Oklahoma City Free Press: The musical numbers are exciting and unforgettable, keeping the audience bopping along to the recognizable tunes. Showstopping moments occur throughout, with hits like “I Want It That Way,” “Baby One More Time,” and “Roar” bringing the house down. The tunes serve as a nostalgic jaunt down memory lane, and patrons can’t help but smile and nod along to each one.

DC Felton, BroadwayWorld: From the moment you walk into the Civic Center space, it's clear that you are in for a treat when seeing "& Juliet." From the set to the costumes, from the story to the actors who tell it, this show will have you on your feet dancing before it's done."

Jared Fessler, BroadwayWorld: What makes & Juliet stand out, though, is its spirit. It’s a celebration of choice, identity, and rewriting the story you thought you had to live. It’s cheeky, inclusive, romantic, and proud of it all.

Rob Hubbard , Twin Cities Pioneer Press: They help make ‘& Juliet’ a supremely well-executed bit of frothy fun that also holds some inspiring messages about empowerment and finding your own path.

Rohan Preston, The Minnesota Star Tribune: ‘Juliet’ is a lot of wicked fun, a joy that derives from the recontextualized and reorchestrated pop numbers made famous by the likes of Ke$ha (‘Blow’), Jessie J (‘Domino’) and Britney Spears (‘Baby One More Time’ and ‘I’m Not a Girl, Not Yet a Woman,’ here given a haunting rendition by Drake).

Rob Levy, BroadwayWorld: A fun romp of gooey fun wrapped in a Shakespearean shell, & Juliet takes the earworm drivel of songs like Baby One More Time, I Want It That Way, Roar, and Since U Been Gone, and makes them musical theater bangers. But, behind the schmaltz and campy energetics, the production entertains thanks to the talents of an exceptional ensemble. Filled with singing, dancing, love, and loyalty, & Juliet is a glorious escapade.

Tyler Hinton, BroadwayWorld: The national tour of & JULIET, currently playing at the Eccles Theater in Salt Lake City, is a fizzy, heart-bursting celebration of love and empowerment via the enduring power of pop music. From the first beat to the last, it carries with it a full gamut of emotion from despair to elation and everything in between.

Nancy Van Valkenburg, Gephardt Daily: & Juliet" gives Shakespeare's long-overlooked wife, Anne Hathaway (hey, this Anne had the name 426 years before "The Devil Wears Prada" star was born) a chance to hijack her husband's new "Romeo and Juliet" tragedy, and turn it into something infinitely more energizing and empowering.

Lily Janiak, San Francisco Chronicle: In scene after scene, that premise plays like a theatrical round of pop music bingo. You wonder what bit of Billboard Hot100 ubiquity the dialogue is teeing up, and then when the first notes of Ariana Grande or Katy Perry strike, the first person in the audience to audibly recognize it wins.

Jay Irwin, BroadwayWorld: This was a show that snuck up on me when I saw it the first time. I found myself with a hole in a Broadway trip schedule and thought, 'this should be fun' and found one of my favorite shows I saw that trip. It’s rockin’, funny, and just plain wonderful. So, it’s no reason it’s STILL kicking ass on Broadway. And so, with my three-letter rating system, I give “& Juliet” at the Paramount, and really this show in general, a 'I could watch this show a hundred times and still be in love with it' WOW.

Destiny Valencia, 425: & Juliet” is so bursting at the seams with music that it at times feels like a traditional concert; its flaws ultimately weren’t deep enough to undermine the overarching show. While it could sometimes be distracting, a few audience members endearingly could barely sit still in their seats during some of the more infectious numbers. A personal favorite was the show’s rendition of Kesha’s party anthem “Blow,” which was aptly used for a scene where Juliet and crew crash a rager.

Gemma Wilson, The Seattle Times: Bookwriter David West Read, an Emmy winner for “Schitt’s Creek,” blended these two disparate properties into a soft-serve-sweet-swirl of a musical forged in the #girlboss era. But “& Juliet” has no interest in the tearjerking original ending of “R&J.” Here’s how they rewrite that story.

Krista Garver, BroadwayWorld: The show features a catalog of songs written or co-written by Max Martin – the pop mastermind behind hits like Britney Spears' "Oops!...I Did It Again," The Backstreet Boys' "I Want It That Way," and Katy Perry's "I Kissed a Girl" (all of which are in it). For those wary of jukebox musicals, & JULIET should convert even the most skeptical (trust me, I used to be a skeptic myself), largely because of David West Read's incredibly smart script that appeals to a diverse, multigenerational audience. Shakespeare enthusiasts of all ages will delight in the clever references, jokes, and wordplay; Millennials will find themselves singing along to the soundtrack of their youth; and younger audiences will connect with the show's contemporary cultural sensibilities.

The Nerds of Color, The Nerds of Color: Though I can severely nitpick on the women & LGBTQIA+ empowerment storyline messages that has a habit of forcefully asserting how aware they are (a symptom that I find to be prevalent amongst white male writers) and that the plot disappointingly leaves the characters back to square one despite the messages, there is no doubt that the combo of incredible actors, dazzling costume/set/light design, infectious choreography, and good ol’ ‘90s and 2000s pop music nostalgia is a potent one absolutely worth seeing.

Charles McNulty, Los Angeles Times: “& Juliet” bestows the alternative ending everyone wishes they could script for themselves — a second chance to get it right. This feel-good musical is just what the doctor ordered in these far less carefree times.

Michael Quintos, BroadwayWorld: Bursting with buoyant energy, witty humor, and lots of cleverly-used pop anthems to reframe a familiar story, & JULIET is a funny, entertaining, revisionist good time. While jukebox musicals tend to lean heavily on songs as the superficial anchor for a show, here the format is elevated to support a fairly 'new' story, so the music used ends up being a bonus perk, if you will, for an engaging set of situations and characters that are entertaining in their own right. But when the nostalgic songs do arrive in their given placement, they are all carefully curated and re-contextualized, offering ironic, sometimes poignant, or even empowering counterpoints to the characters' individual journeys.

Courtney Symes, BroadwayWorld: This touring cast is just as good as the group I saw on Broadway. Crystal Kellogg’s Anne is utterly charming. She’s got a natural, quick wit and engaging persona, like she’s letting us all in on a fun secret at the expense of Shakespeare. CJ Eldred is her husband, who is lovingly knocked down a peg but takes it with grace. What can a man expect when he only leaves his wife his second-best bed? Kathryn Allison plays Juliet’s nurse, Angelique, and is a perfect complement in voice, attitude, and motherly concern to Fabiola Caraballo Quijada’s Juliet. Quijada is astonishing. Her performance belies her age; it’s hard to reconcile that level of talent with being a recent high school graduate. Her Best Friend, May, is sweetly portrayed by Nico Ochoa, delightfully contrasting with Joseph Torres’ hilariously narcissistic Romeo. Paul-Jordan Jansen and Noah Marlowe are father/son duo Lance and Francois -- polar opposites and perfectly cast. The entire company is full of energy, and numbers like “Larger Than Life,” “Everybody (Backstreet’s Back),” and the crowd-pleasing closer, “Can’t Stop the Feeling!” make this show an entire experience. Once won’t be enough. You’ll want to see it “Baby One More Time.”

Linda Hodges, BroadwayWorld: As mentioned, the cast is fantastic. They're far more than "extras": they're the beating heart of the show, dancing to high-energy beats and clearly having a blast while doing it. Vocals across the company are a joy and add immeasurably to the production. Paloma Young has costumed the leads and ensemble in a dazzling blend of Renaissance chic and '90s grunge that truly paints a picture, while Soutra Gilmour's set design spins that same aesthetic into the world around them. Lighting by Howard Hudson and Sound by Gareth Owen create their own kind of magic, while Andrzej Goulding's video and projection design surrounds the audience in a visually stunning ambiance.

ErinMarie Reiter, BroadwayWorld: The plot is gloriously frothy, falling somewhere between Shakespearean fanfiction and a Max Martin greatest-hits concert, but that’s the point, don't analyze it. This show isn’t here to brood; it’s here to bop. Director Luke Sheppard’s production keeps the energy high and the heart beating, letting the songs propel the emotion as much as the story. When Juliet belts “Since U Been Gone,” or Shakespeare and Anne spar through “I Want It That Way,” it’s both hilarious and oddly moving.

Pam Kragen, San Diego Union-Tribune: Like all jukebox musicals, this show’s book was written to fit the lyrics of songs from the writer’s catalog. Some jukebox musical scriptwriters do such a bad job stretching the plot to incorporate unrelated songs that it’s cringe-worthy. But not Read. His selection of mostly love and breakup songs from Martin’s catalog (the show uses songs from the ’90s and early 2000s) fit the plot perfectly, and often hilariously.

Drew Sitton, Downtown News: The backstage concert feeling of the set (Soutra Gilmour), fun neon lighting (Howard Hudson), and mixed era fashions of the glittering costumes (Paloma Young) add to the camp of it all – not to mention the exaggerated French accent from original characters like Lance (Paul Jordan Jansen) that had the audience in stitches.

Zach Wetzel, BroadwayWorld: From Verona to Paris and beyond, & JULIET is a delightful journey into a whimsical world. Infused with toe-tapping pop songs (many from the 90's and early 2000's), the soundtrack is full of wacky energy. The arrangements are excellent and actually tie in really well to the plot and dialogue.

Herbert Paine, BroadwayWorld: When it comes down to it, & Juliet isn’t trying to be profound, it’s trying to be fun. And with that it succeeds wildly. It’s somewhere between a rush of teen pop and the campy wink of a drag show; a jukebox musical that knows the world is on fire but hands you a disco ball all the same. If the pink signage and pulsing LED set pieces of lighting designer Howard Hudson, who lets no color go unblasted, didn’t tip you off, this is not your father’s Shakespeare.

Rick Mauch, Fort Worth Star Telegram: ‘& Juliet’ provides a zesty new twist on what history has labeled the greatest love story ever told. And it does so with a fiery mix of humor, uptempo music, sparkling choreography and a performance by 18-year-old Fabioloa Caraballo Quijada as Juliet in her first professional role that indicates a fabulous future in the spotlight.

Alan Portner, BroadwayWorld: As Juliet, Fabiola Caraballo Quijada anchors the production with a charismatic blend of humor, emotional openness, and commanding vocals. Her Act I finale is a particular high point, earning a well-deserved ovation.

Keeley Ferguson, KC Studio: I thoroughly loved the story. I experienced delight watching the female empowerment of Juliet and the other women in this musical from the imagination of Anne Hathaway. Also, Anne’s snippy remarks about her husband William added an element of humor that I adored. At one point, William made a comment about “May,” a character in the show, being a feminine name to which Anne replied by pointing out his plays were performed with men portraying women all the time.

AniKatrina Fageol, BroadwayWorld: All in all, And Juliet makes for an extremely entertaining night out. It's fun and campy, and will make you want to sing along (please don't though! Respect your fellow audience members! :)

Average Rating: 82.5%