Review: & JULIET at Texas Performing Arts

What if Juliet didn't die?

That simple question became the foundation for one of the most successful new musicals of the past decade. Premiering in Manchester in 2019 before transferring to London's West End and Broadway, & JULIET imagines Shakespeare's heroine surviving her famous tragedy and setting out to write her own future. Powered by the seemingly endless catalogue of pop hits written and produced by Max Martin, the musical cleverly repurposes songs made famous by Britney Spears, the Backstreet Boys, Katy Perry, Kelly Clarkson, P!nk, Ariana Grande, Bon Jovi, NSYNC and many others into a surprisingly coherent story about identity, second chances and self-determination.

It is an undeniably entertaining concept. Even for those who typically roll their eyes at jukebox musicals,  & Juliet has a knack for winning audiences over.

Director Luke Sheppard understands exactly what the show is. He never attempts to ground the material in realism, instead embracing its theatrical absurdity with confidence and wit. David West Read's book is packed with self-aware humour, theatrical references, and enough irreverence to satisfy both Shakespeare enthusiasts and audiences who have never voluntarily opened one of his plays. The production moves at an exhilarating pace, rarely allowing the energy to dip.

Jennifer Weber's choreography remains one of the production's greatest strengths. Every musical number bursts with infectious energy, combining commercial dance with storytelling that feels contemporary without chasing trends. The ensemble attacks every routine with commitment, creating a constant sense of momentum that keeps the nearly two-and-a-half-hour running time surprisingly brisk.

Visually, the production delivers everything audiences expect from a Broadway tour. The colourful costumes blend Elizabethan silhouettes with modern fashion in ways that are playful rather than gimmicky. The scenic transitions are fluid, the lighting is bold, and the projections keep the storytelling moving effortlessly from one location to another. Few touring productions arriving in Austin feel this polished from a technical standpoint.

Although I had previously seen &JULIET on Broadway, I had forgotten just how enjoyable this musical really is. This tour captures much of that same infectious spirit, reminding audiences that theatre can simply be joyful.

The cohesive cast carries the production with infectious enthusiasm and undeniable chemistry. Rather than depending on a single breakout performance, the show succeeds because every principal fully embraces its heightened style and playful sense of humour.

At its centre, Fabiola Caraballo Quijada is a charismatic Juliet, confidently navigating Max Martin's demanding score while handling Jennifer Weber's physically taxing choreography with ease. Joseph Torres proves an ideal comic foil as the hopelessly self-absorbed Romeo, leaning wholeheartedly into the character's vanity and immaturity to generate many of the evening's biggest laughs. Nico Ochoa brings warmth and sincerity to May, grounding one of the musical's emotional storylines with quiet authenticity, although a handful of duet harmonies didn’t quite land for me. CJ Eldred is consistently entertaining as Shakespeare, capturing the playwright's oversized ego while maintaining enough self-awareness to make his ongoing battle with Anne Hathaway delightfully funny.

Among an already captivating company, Crystal Kellogg's Anne Hathaway stands out. With impeccable comic timing, assured vocals and commanding stage presence, she charts Anne's transformation from Shakespeare's overlooked wife into the true architect of Juliet's future with intelligence, wit and genuine heart. It is a wonderfully layered performance that quietly becomes the emotional centre of the evening.

Not everything works equally well.

The greatest weakness lies in the book itself. While David West Read does an admirable job weaving dozens of unrelated pop songs into a narrative, the second act occasionally becomes overstuffed with twists, reversals, and romantic complications that exist primarily to set up the next hit song. Some emotional revelations arrive conveniently rather than organically, and a few plot developments require audiences to accept increasingly improbable coincidences. The production succeeds because it never pretends otherwise, but there are moments when the storytelling feels more mechanical than inspired.

&JULIET may be one of the smartest jukebox musicals (my personal opinion). Unlike so many productions built around existing pop catalogues, the songs seldom feel like excuses for applause. Instead, they reveal character, deepen relationships, and frequently become the joke themselves. That is no small achievement.

Ultimately, &JULIET understands something many musicals forget: theatre is allowed to be joyful. It may not rewrite Shakespeare quite as brilliantly as it believes it does, but it delivers one of the most entertaining nights currently playing in Austin.

& JULIET (NORTH AMERICAN TOUR)

Music and Lyrics by Max Martin and Friends

Book by David West Read

Directed by Luke Sheppard

Choreography by Jennifer Weber

Now playing through July 19th 2026

Last Two Shows: Sunday at 1:00 PM and 6:30 PM

Bass Concert Hall

Texas Performing Arts Center

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