Penrith Musical Comedy Company: &Juliet - Review by Selina Wong

As an English teacher, I went into this production with curiosity and a fear that flipping the script on the classic Shakespeare’s Romeo and Juliet would lack depth — but Penrith Musical Comedy Company and the vision of John Forbes delivered an absolutely stellar, joyful and hilarious production. & Juliet is based on the question: what if Juliet never died over Romeo? Being a millennial English teacher, the Shakespeare references, 90s bangers and sprinkled rhyming couplets had me absolutely hooked. Even before the show started, a backing track of Akon’s Smack That playing with a distinct virginal sound (yes, part of the harpsichord family) had me in stitches. Beginning with the iconic Backstreet Boys hit Larger Than Life, playwright William Shakespeare and his wife Anne Hathaway are introduced. The audience quickly realised this “play within a play” was going to be something special. Not only did Shakespeare and Hathaway narrate the story, they rewrote the plot as they went, broke the fourth wall and even inserted themselves into the action.

Robert Hall absolutely nailed the portrayal of the pompous, witty and egotistical Elizabethan playwright. Hall’s commanding stage presence and strong vocals are a testament to his experience. His multifaceted role — shifting between narrator, husband, playwright and actor — highlighted his versatility. The show’s protagonist may be Juliet, but the theme of gender emancipation paralleled Anne Hathaway’s journey of self-discovery. Jessica Zamprogno stole the spotlight and proved a flawless choice as Anne Hathaway. Zamprogno’s embodiment of Hathaway’s maternal nature, resilience and independence still balanced her portrayal as a neglected wife. Her vocal power and natural acting completely commanded the stage. The chemistry between Hall and Zamprogno was seamless and made their conflicted marriage feel incredibly authentic. Their duet I Want It That Way captured their opposing views on how the play should end and, ultimately, their relationship.

Annabelle Payne as Juliet took on a huge role with stunning vocals. Her stage presence, dancing and acting beautifully transformed Juliet from a sheltered teenager bound by family expectations into an independent young woman. Payne’s rendition of Confident by Demi Lovato and her duet That’s the Way It Is with Zamprogno highlighted her vocal strength. Zion Lallana as Romeo was perfectly cast. Not only did Lallana possess a soulful voice, he had the looks, the moves and a wonderful sense of humour. From his very first entrance, the audience was in hysterics. Lallana’s performance of Love Me Like You Do, paired with his mesmerising vocals, completely captivated the crowd. Although Jamie Chetcuti’s role as Benvolio was relatively small, his loyalty, facial expressions and slapstick energy left me wanting more.

Euno Mateo as May embodied Juliet’s fiercely loyal and non-binary best friend that everyone needs. As Mateo gained confidence throughout the production, their duet I’m Not a Girl, Not Yet a Woman with Payne was both beautiful and emotional. Whataya Want From Me also showcased the richness of Mateo’s voice. Callum Gilbert as Francois De Bois was playful and conveyed another character desperate to “break free” from tradition. Gilbert’s on-stage chemistry with Mateo felt genuine, supported by consistently solid vocals.

My personal favourite was Ron Wadick, who played Nurse Angelique. Wadick brought sass and flair to the role as Juliet’s loyal confidant, while also revealing the vulnerability of a lonely woman torn between duty and the determination of someone who deserves to be loved. Her rendition of Fuckin’ Perfect was both powerful and commanding, while her duets Teenage Dream and Break Free with Douglas Bryant as Lance De Bois revealed the light and shade in her incredible voice. Bryant brought charm and humour to the role of Lance De Bois, a pompous and burly man struggling to challenge tradition. Not only did Bryant maintain a French accent throughout, his playful dynamic with Wadick was an absolute delight to watch. He was clearly a crowd favourite.

The ensemble was one of the most vocally unified choruses I have seen, delivering boundless energy and vibrant character work. They also managed numerous costume changes under immense time pressure and genuinely looked like they were enjoying themselves — such a joy to witness. I loved how choreographer Amy Stoakes blended contemporary pop choreography with elements of Elizabethan dance — so clever.

There is no & Juliet without the incredible band. Musical Director Marcel Viera should be proud of how adaptable the musicians were. Although the soundtrack consisted of 90s hits, the sounds of the Elizabethan era were still woven throughout. I loved how the band remained visible on stage behind the set, creating truly eclectic sounds at an impressive pace. Violinist Anders Ernest especially stood out; the strings were simply stunning.

I loved how Naomi Crew made the balcony central to the set, paying homage to Romeo and Juliet’s iconic balcony scene. Not only was it used as a literal balcony, it also created the perfect separation for Shakespeare and Hathaway to observe their “play”. The addition of fairy lights towards the end of the performance and the use of the curved staircase created the ideal romantic atmosphere. The stained-glass windows seamlessly transformed into a nightclub and Renaissance ball with luminous graffiti. Stewart MacPherson designed a set adaptable enough for the band, scene changes and fluid cast movement to and from the stage.

One of the standout elements was the costuming. Kelly Cox and her team assembled the most eclectic and funky costumes while still maintaining an Elizabethan flavour. The corsets, pantaloons, vests, tartan, leopard print, bright pinks, gold leotards, capes and collared boleros were a feast for the eyes and constantly reminded the audience they “were certainly not in Verona anymore”. Lord and Lady Capulet’s costumes were especially fitting for the Elizabethan era and absolutely beautiful. I also adored the props — the candles, carriage and recurring motif of the scripts and quill. They were incorporated in such a thoughtful way that I don’t want to give anything away. The lighting was another highlight, particularly in showcasing the divide between the Montagues and Capulets.

With its exploration of self-love, second chances and female empowerment, this production truly is for everyone. As I drove home blasting 90s bangers, I thought, “Where else can you witness a wedding where the vows are made entirely from Backstreet Boys lyrics?”

Please get your tickets!