Review: & JULIET at Dr. Phillips Center For The Performing Arts - BroadwayWorld

CommunityThe show presents an alternate version of Shakespeare’s characters who have managed to avoid their tragic fate. Through a blend of dance, theatre, and comedy, Juliet & Romeo tells the story of their subsequent struggles with the mundane realities of post-honeymoon phase love. Performance blends dance, theatre, and comedyCBC Communications · Posted: Apr 30, 2026 1:04 PM EDT | Last Updated: April 30Listen to this articleEstimated 2 minutesThe audio version of this article is generated by AI-based technology. Mispronunciations can occur. We are working with our partners to continually review and improve the results. This performance stars John Kendall (left) as Romeo and Emily Terndrup (right) as Juliet. (Paul Blakemore)CBC North is a proud sponsor of the Northern Arts & Cultural Centre’s 2025-26 season which continues to bring nationally and internationally recognized talent to Yellowknife. On Saturday, May 9, NACC will present Juliet & Romeo by the award-winning dance/theatre company Lost Dog.

In September 1991, I had just been thrown into the meat-grinder of a Midlands boarding school. In this bear pit, there were predators and there was prey. You were either the swaggering rugby alpha, whipping a wet towel at pale bodies in the eight-boy dormitory; or the homesick ghost, keeping your guard up, endlessly braced for your toilet cubicle to be kicked open or your washbag chucked off the fire escape. My mind had always been loud, racing with opinions, stories, jokes. But by the time I adequately considered a thought, the conversation had raced on without me. Suddenly, under 24/7 social scrutiny in a world where bullhorn confidence is king, I felt dismissed. Up to that point, music hadn’t helped. Every rock star I had ever seen – Elton John, Freddie Mercury, Mick Jagger – was a showboating peacock, all hips, handclaps and absurd glasses, seeming to whisper in my ear: “This isn’t for you, bookworm.” But that September, I stumbled across the Stone Roses’ self-titled 1989 debut album. I must have seen John Squire’s genius before I heard it, on his paint-splashed, lemon-drizzled sleeve art.