BroadwayRadio: In Review – ‘& Juliet’ National Tour at the Dr. Phillips Center in Orlando

Host: Matt Tamanini
Episode Date: January 7, 2026

Overview

In this episode, host Matt Tamanini reviews the national tour of & Juliet at the Dr. Phillips Center for the Performing Arts in Orlando, highlighting a performance that stands out thanks to its pop-infused score, clever book, and a star turn by Orlando native Joey Fatone. The review discusses the show's atmosphere, performances, production quality, and the effect of 90s and 2000s pop nostalgia on the audience.

Key Discussion Points & Insights

1. Electric Orlando Audience and Pop Anticipation

• The Dr. Phillips Center atmosphere felt less like a theater gathering and more like a pre-concert crowd, energized by both the show's pop repertoire and Joey Fatone’s appearance.
  • “The Dr. Phillips center was awash with an electricity that felt far more like pre concert anticipation from 2,700 devoted pop fans than a traditional sold out subscription theater audience.” (03:21)
• Orlando crowds are noted for their appreciation, but this night set a new high, reminiscent of other star-studded Broadway events.

2. Joey Fatone’s Return in the Role of Lance

• Joey Fatone, Orlando native and original NSYNC member, reprises his role as Lance for a limited time, generating hometown excitement.
• Despite being a secondary character, Fatone captivates with charm, comedic timing, and physical prowess:
  • “There is a moment when he does a stag jump center stage and I was honestly a little taken aback by how much air he got off the ground.” (04:33)
  • “Even more impressive...was just how funny Fatone is...he is staggeringly hilarious, not only making the most of the characters moments already found in the script, but throwing in some personal touches that the appreciative audience absolutely ate up.” (04:51)

3. Show Structure & Clever Storytelling

• The musical, by David West Read, reimagines Shakespeare’s Romeo and Juliet with a pop soundtrack by Max Martin.
• Shakespeare and Anne Hathaway (his real-life wife) partner to rewrite Juliet's fate, launching the audience into a meta-theatrical, humor-filled journey.
  • “The way that the show explains and gets into its kind of complicated plot is one of the smartest and most efficient examples of storytelling you will ever see.” (06:35)
  • The script features gags and running jokes, including one that pays off near the end.

4. Standout Performances and Cast Details

• Fabiola Carabella Quijada plays Juliet with youthful authenticity and striking vocal clarity:
  • “Her vibrancy and energy are contagious. She also brings an absolutely exquisitely crystalline, clear voice to some of the most iconic power ballads of her lifetime.” (08:13)
• Understudy Daniel Trakt takes on Shakespeare, apparently for the first time—a moment celebrated by the cast and audience.
• Crystal Kellogg as Anne Hathaway and comic interplay among the supporting cast receive special praise.
  • “Being able to balance both being a part of the story as well as someone on the outside explaining the story is a lot more difficult than it looks, and both Kellogg and Trakt handle it expertly...” (10:14)

5. Technical Hiccups and Sound Notes

• Opening night was delayed due to audio issues; ensemble harmonies occasionally felt unbalanced. These were minor after the show began, and Tamanini hopes future performances will smooth them out.

6. Book, Choreography, and Tone

• The show is lauded for its wit, inventiveness, and high-energy choreography by Jennifer Weber.
• Even with high entertainment value, Tamanini expresses reluctance about the “gleeification” of pop hits for musical theater voices, finding the adaptation enjoyable but sometimes a stretch:
  • “Trying to shoehorn pop hits not only into a musical theater narrative but but onto musical theater voices and orchestrations generally does not serve the songs nor the singers well...” (11:04)
• Ultimately, the show is called “one of the funniest in recent Broadway memory,” with a happy, infectious energy.

7. Final Assessment and Recommendations

• Despite minor reservations, Tamanini highly recommends the show for fans of pop music and theatrical comedy, noting that he intends to see it again.
  • “If late 90s and early aughts, pop music and silly banter are up your alley, chances are good that you will leave the theater smiling so much that you will have to tell your friends that I can't feel my face...” (11:25)
• Tickets for the Orlando run are especially scarce due to Fatone’s limited engagement.
• The tour will continue through other Florida cities after Orlando.

Notable Quotes and Memorable Moments

• On Audience Etiquette:
  “Do not sing along. I experienced that firsthand on opening night on Tuesday and I hope that nobody else does the rest of the run.” (00:57)

• On the Cast’s Joy:
  “Judging by the reaction he [Trakt] got from the rest of the cast during the curtain call, I would not be surprised if this was one of the first times that he's gone on. It could have even been his first because, like the crowd, the rest of the and Juliet ensemble was giddy to give Trakt his due.” (05:53)

• On Book and Jokes:
  “There is actually a show long gag that doesn't pay off until nearly the end of the show. That always tickles me and makes me giggle at the vision that it took to seed in throughout the entire script.” (07:32)

• On the “Glee-ification” of Musical Theater:
  “I can't shake the feeling that I'm actually watching a show that Mr. Shue directed in order to get new directions ready for regionals.” (10:47)

• On the Show’s Energy:
  “If you want to see a group of wildly talented performers roar as they sing some of your favorite songs in larger than life musical, then get to the Dr. Phillips center of the Performing Arts before Sunday, January 11th...” (11:18)

Timestamps for Key Segments

• [00:40] Opening and audience etiquette warning
• [01:34] Overview: Show history, Max Martin’s score, cast hype
• [03:21] Description of the venue’s energy on opening night
• [04:33] Joey Fatone’s performance and audience response
• [06:35] Praise for the cleverness of the book and plot structure
• [08:13] Lead performance by Fabiola Carabella Quijada (Juliet)
• [09:35] Notes on technical issues and sound balance
• [10:14] Standout moments from Kellogg and Trakt
• [10:47] Reservations about jukebox adaptations and “Glee-ification”
• [11:18] Final recommendations and tour information

Tone & Style

Matt Tamanini’s review is sharp, witty, and good-humored, peppered with pop culture references and an authentic fan’s enthusiasm for both theater and 90s-00s pop music. He balances praise with constructive critique, sliding in clever wordplay (“say bye bye bye”) and running gags ("oops, I did it again"), mirroring the playful spirit of the show itself.