By AJ Jaffari
What if Juliet didn’t die at the end of Romeo & Juliet? That’s the delightfully bold question at the heart of & Juliet, the jukebox musical that flips the script on Shakespeare’s most famous tragedy. Written by David West Read (Schitt’s Creek) and featuring a hit parade of Max Martin’s chart-topping songs—from “…Baby One More Time” to “Since U Been Gone”—the show imagines a new path for Juliet, one where she takes control of her story with glitter, guts, and girl power.
This North American touring production, now playing at BroadwaySF, delivers all the sparkle, sass, and self-empowerment that made the show a West End and Broadway crowd-pleaser. With its infectious pop score, razor-sharp humor, and heartwarming twists on identity and destiny, & Juliet isn’t just a reimagining—it’s a celebration of rewriting the narrative, both onstage and off. Whether you’re a die-hard pop fan or a Shakespeare skeptic, this show promises a night of loud laughs, big feels, and even bigger vocals.
Okay, let’s be honest—Sarah and I have never been the biggest fans of jukebox musicals. But & Juliet genuinely exceeded my expectations and, dare I say, might have turned me into a believer that some of them can really work. What stood out to me was how the show fully embraced its own absurdity and near-cringe moments. It knew exactly when it was being cheesy, and instead of shying away from it, it leaned in with confidence. At the center of all the glitter and pop hits was a real heart, and that’s what kept me grinning from ear to ear the entire time.
And now… onto the review!
Cast: ⭐️⭐️⭐️⭐️⭐️
This cast is stacked—from familiar faces to new discoveries that had me wondering, “Why on earth are they not already on Broadway?” Leading the charge is Rachel Simone Webb (Juliet), who delivers one of the best vocal performances I’ve ever heard onstage. Having understudied the role on Broadway, I expected her to be strong—but wow. These songs are no joke. Musical theater pop is a beast, and Webb masterfully bridged the two genres, navigating riffs and runs with effortless control. My jaw was on the floor by the time she hit Roar.
Another undeniable standout is my forever shining star, Teal Wicks (Anne). Her acting always pulls me in, her voice never fails to melt me—and seeing her hip-hop dance across the stage? Life-changing. I’ve been a devoted fan since 10-year-old AJ saw Wicked at the SF sit-down right here at the Orpheum. There’s a rare, magnetic charm Wicks brings to every role. I’ve seen her shine as Maureen in Rent and Mary Barrie in Finding Neverland, and let me tell you—she can do it all. Her portrayal of Anne was both triumphant and deeply sincere. I honestly can’t imagine anyone else in the role.
Other standout performers include Nick Drake (May), Kathryn Allison (Angélique), and Mateus Leite Cardoso (François)—each bringing their own unique flavor while serving vocals that left me speechless. Across the board, this is a truly stellar cast.
Theater: ⭐️⭐️⭐️⭐️⭐️
There’s just something special about the Orpheum. It’s that perfect blend of historic charm and modern production capability. Sure, the seating is comically tight—knees-in-your-back tight—but honestly, it’s part of the character at this point. I’ve sat in various spots throughout the orchestra and balcony, and the views are consistently solid. Even up in the mezzanine, you’re still getting the full scope of the staging and effects.
The one drawback? The lobby. It gets crowded, especially before the show and at intermission. If you’re sitting in the lower orchestra, give yourself a little extra time to get to your seat—navigating through the lobby can feel like a game of human Tetris.
Parking is, well… it’s San Francisco. I’ve got my usual garages (feel free to message me for recs), but your best bet is to arrive early, especially if you want to avoid that last-minute stress of circling the block or rushing in without your pre-show treat.
At the end of the day, the Orpheum remains a crown jewel in the Bay Area theater scene. Between the architecture, the atmosphere, and the caliber of shows that come through thanks to BroadwaySF, it’s always a joy to be back.
Production: ⭐️⭐️⭐️⭐️⭐️
I don’t usually spend much time talking about the book, but I have to give credit where it’s due—this story flows really well. I went in mostly blind, only asking my friend five minutes before curtain what it was about. Her answer? “It’s if Juliet didn’t die.” And honestly, that’s the core premise. Throw in some plot twists, glitter, Britney bangers, and boy band ballads, and you’ve got the vibe. David West Read has crafted a script that had me smiling the entire time, while also keeping me on the edge of my seat during moments of suspense (cue another perfectly timed corny joke).
Jennifer Weber’s choreography is a burst of energy—dynamic, electric, and a clever fusion of hip hop and musical theater styles that keeps the stage in constant motion. Luke Sheppard’s direction ties it all together with seamless pacing and inventive staging that never lets the momentum dip. Everything about the production feels tight, purposeful, and totally engaging.
Set design by Soutra Gilmour strikes a balance between modern flair and theatrical whimsy—it genuinely feels like what a contemporary Shakespeare production should look like. Paloma Young’s costumes? So fun. I’m a sucker for a well-executed quick change, and this show pulls off several that left me amazed.
And finally, the lighting. Howard Hudson’s design is just as much a part of the storytelling as anything else. The vibrant palette perfectly complements the show’s bold tone. I especially loved the use of blue as a primary light—a color I usually see reserved for transitions. Here, it added depth and contrast, supported by side and upstage lighting that gave the production an extra punch. It’s fresh. It’s modern. It works.
Stop everything you’re doing and go see this show. Even if you’re not usually into musicals, I promise & Juliet will win you over. It’s no surprise to me that it’s still going strong on Broadway.
& Juliet runs through July 27 and tickets are available here.
Broadway with AJ and Sarah 
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