Riverside Theatres, Sydney.
3 October 2025.
PACA Productions’ staging of & Juliet at Riverside Theatres bursts onto the stage with colour, heart, and an infectious sense of fun. Co-directed by Rodrigo Medina Noel and William Pulley, with choreography by Janina Hamerlock, the production reimagines Shakespeare’s tragedy through a glittering pop lens, propelled by the hits of Britney Spears, Katy Perry, Backstreet Boys and more, all songs co-written by legendary songwriter Max Martin.
Leading the charge is Jade Lee as Juliet, a radiant performer whose voice and charisma light up the stage. Lee sings with power and clarity, pairing her vocal control with expressive acting and sharp comic timing. She is a strong dancer too, moving confidently through the show’s demanding choreography while maintaining Juliet’s playful spirit and emotional drive.
Opposite her, Marika Zorlu as Anne Hathaway delivers a performance of striking maturity and depth. Zorlu’s voice is truly outstanding – dynamically expressive, technically assured, and rich in tone. Her scenes opposite Ben James as Shakespeare anchor the show in genuine emotion, capturing the push and pull of a creative marriage with tenderness and wit. Their duet thread – balancing love, frustration, and artistic ambition – gives & Juliet its most affecting moments.
Annette Vitetta’s Angelique is another standout, commanding the stage with presence and poise. Her scenes with Brad Clarke’s Lance reveal unexpected chemistry, likely enhanced by their closer age match, allowing Clarke’s awkwardness to land with warmth and charm.
The female leads shine throughout, bringing a professional polish that grounds the show’s exuberance. The men, by contrast, feel somewhat undercut – both in the musical’s tongue-in-cheek writing, which gleefully emasculates its male characters, and by less cohesive performances overall. Still, their enthusiasm carries them through, and the spirit of community theatre remains front and centre.
Hamerlok’s choreography is plentiful and high-energy, making strong use of the stage and the cast’s enthusiasm. Stylistically, it feels drawn straight from the music videos of the ‘90s and early 2000s – brimming with sass and recognisable pop tropes. While that nostalgic aesthetic fits the soundtrack, it occasionally feels overly literal or dated. Nonetheless, it does work well on the cast overall, particularly on those who are not the strongest dancers. The sheer movement and momentum keep the show visually lively, and the cast’s commitment deserves recognition.
Erica William’s costumes are a visual delight: a playful mix of medieval silhouettes and modern fabrics that evolve through the show in bursts of colour and texture. Tony Odling’s set supports this vibrancy, providing levels and depth that keep the cast in constant motion. Jeremy Cardew’s lighting adds further spectacle, although the occasional direct beam into the audience’s eyes was uncomfortable and distracting.
By the show’s final act, some ensemble energy had begun to wane, and musical precision occasionally slipped, in timing and pitch, yet at other times, the vocals soared, with thrilling moments of unity that reminded the audience just how powerful this score can be when it clicks.
Despite its imperfections, this production of & Juliet is undeniably enjoyable. It’s loud, unapologetic, and full of heart – a night that celebrates the joy of performance and the collective spirit of community theatre. The audience’s standing ovation on opening night spoke volumes. PACA’s & Juliet delivers a joyous, high-energy spectacle that leaves you smiling as you leave the theatre.
By Linda Badger of Dance Informa.
