THIS musical by Swedish pop composer Max Martin and friends, with book by David West Read, takes no prisoners in its spectacular production and presentation of strong feminist and non-binary sexual themes, as it turns Shakespeare’s classic romantic story of Romeo and Juliet on its head.

With virtually every modern staging aide and lighting effect put at the disposal of the director Luke Sheppard, visually it is an outstanding production, with one scene dissolving miraculously and seamlessly into another. Everything from a conventional half moon rising high into the air while Romeo and Juliet sing a romantic duet, to eye-watering flashing images bombarded the senses from the word go.

Musically it followed the same lines, with several echoing notes continuing a full blooded solo long after the singer had finished their last contribution. And when it came to the ensemble numbers, with choreographer Jennifer Weber demanding the energy of an Olympic gymnast from every member of the company, you felt that there should have been a warning that there would be flashing images before the show began.

With some dialogue and lyrics that would have sent the old Lord Chamberlain’s men scurrying away to find their censoring blue pencil, there was never any doubt that this was a modern telling of the story. Cleverly set at the first rehearsal of Romeo and Juliet, it opened up the opportunity for Lara Denning’s frustrated Anne Hathaway to assert womens’ rights and demand that her husband William Shakespeare (Jay McGuinness), change the ending of the play, allowing Juliet to live and have an independent life after Romeo.

At first, and throughout a fun-filled first act that surged through the theatre like a river having just burst its banks, Anne holds the upper hand. She takes Gerardine Sacdalan’s effervescent, full-of-infectious-fun-and-big-belting-vocals Juliet, to Paris, along with her non-binary friend May (Jordon Broatch) and fiery-tempered nurse Angelique (Sandra Marvin).

For the moment it is back to the status quo as Juliet is betrothed to the weak-willed Lance (Lee Latchford-Evans), while his reactionary father Francois (Kyle Cox) rekindles his love with Angelique. Things take a violent U turn when Lance kisses May and finds true love, and Angelique shows that she has no intention of being subservient to Francois. At this moment Shakespeare fights back, bringing Romeo back to life determined to return the play to its original path.

The flippant humour is left behind in act two with Lance and May pleading their case, vocally and dramatically, to be accepted as they are, Angelique leaving Francois in no doubt that a reunion has to be on her terms, Anne showing tremendous passion as she attempts to save her marriage to workaholic Will, and Jack Danson’s more understanding, less arrogant, Romeo showing genuine love for Juliet.

With the audience now fully primed to clap along with every number and cheer on their favourite as they get the upper hand, all looks set for a conventional happy ending, with Shakespeare having re-instated the story of Romeo and Juliet as he originally wrote it. That is until the very last moment, when Gerardine Sacdalan’s wonderful ball-of-fire Juliet as she accepts Romeo’s love, slyly looks over her shoulder to watch the large sign Romeo and Juliet dissolve to reveal in large lettering a sign that yells out that she, and all women, are no second class citizens, & Juliet.

Off on a nationwide tour, this production can be seen at the Bristol Hippodrome until Saturday 25th January and at Truro’s Hall for Cornwall between 10th and 14th June.

GRP