Review: JULIET & ROMEO is a Rom-Com Reimagining at SKYLIGHT MUSIC THEATRE

What if Romeo & Juliet was a rom com complete with time travel, musical numbers, and duels fought over pizza toppings? That’s what we get with the world premiere of Juliet & Romeo: A New Musical, now on stage at Milwaukee’s Skylight Music Theatre. A fun twist on the Bard’s best-known romantic tragedy, this lighthearted new work features a book by Paul Gordon, music and lyrics by Paul Gordon and Curtis Moore, and direction by Skylight’s own Michael Unger. 

This R & J spinoff tells the story of Bloom (Frankie Zabilka), a struggling writer and now the director of his local community theater’s production of Romeo & Juliet. Bloom says he hates the ending of the play, questioning why all of Shakespeare’s works are either comedies or tragedies—where is the in-between? In his musings, Bloom conjures an imaginary friend of sorts: Shakespeare himself (Allie Babich).

Offended that Bloom dislikes the ending of his most-enduring romance, “Billy Shakes” transports Bloom back to 14th century Verona for a taste of some swashbuckling, star-crossed medicine. There, Bloom decides to intercept the first meeting of Juliet (Jamie Mercado) and Romeo (Mason Hanizeski)—for if they can’t meet, they can’t meet a tragic end.

Wouldn’t you know Juliet is easy to fall for? Bloom finds himself in a sticky spot—trying to woo one of literature’s greatest heroines and teaching her the ways of the 21st century. More time travel ensues, lessons are learned, and fourth walls are broken. It’s really a delightful premise that might appeal to everyone from die hard bardolaters (people who idolize Shakespeare), lovers of musical theater, and fans of those cheery fish-out-of-water Netflix rom coms that always seem to star Vanessa Hudgens.

The romantic leads have cute chemistry, and Jamie Mercado is especially delightful and sweet-voiced as Juliet. As Bloom, Zabilka brings a sort of 21st century Marty McFly vibe laced with self-deprecation and F-bombs. Allie Babich is eloquent and breezy, as an imagined Billy Shakes should be—and it’s a nice full-circle choice to cast a woman in this role. The ensemble is strong, lending comedy and choreography (Tori Watson) in sumptuous 14th-century costuming (Krissy Sneshkoff). Charming scenic designs (Jonathan Berg-Einhorn) span from fair Verona to spring in Central Park. 

One of my very favorite things about Juliet & Romeo is the twist ending (no spoilers here!). While the songs didn’t worm their way into my brain and certain the pop culture references aren’t super fresh, the overall work has great potential for wide appeal. I will be curious to see what’s next for Juliet & Romeo following this Milwaukee world premiere.

Photo Credit: Mark Frohna