A young woman sits cross-legged on the edge of the stage, waving to a crowd in the first of many fourth-wall breaks of the night. Other ensemble members wander between large, decorative letters strewn across the floor, spelling out a broken “ROMEO.” Projections of city names flood every wall and the show to come has a promising spark.

It doesn’t take long for that spark to fade.

Stuff a Shakespeare tragedy with 2000s pop and a mess of a plot to get “& Juliet.” The national Equity tour of this Broadway musical performed at the Madison Overture Center through Dec. 1 in an attempt to modernize the renowned “Romeo and Juliet” and empower women, both in Shakespeare’s art and in his life.

In the opening scene, William Shakespeare (Corey Mach) himself sings the Backstreet Boys’ “I Want It That Way” while his wife Anne (Teal Wicks) suggests that they co-write a new ending giving Juliet a second chance to live.

From there the musical takes off, featuring a bold set of characters who interact with Anne and her husband as they weave in and out of the story, writing and watching as it unfolds. 

Apart from a mid-show technical difficulty that left the Madison audience in front of an empty stage for several minutes, the show presents an impressive sensory experience. 

Eye-popping spotlights created by Howard Hudson and immersive sound design from Gareth Owen keep things interesting. In particular, changes in Juliet’s microphone reverb call back to previous moments in the show in an inventive manner. Paloma Young’s extravagant costumes mash Elizabethan fashion with modern pop culture in a colorful cacophony. 

The set feels like a multimedia art project with everything from glitter to string lights. With the help of the show’s ensemble, scene transitions happen seamlessly.

It’s difficult to give these performers the credit they deserve when their talent tells such a poorly written story. Ensemble members appear listless, and actors aren’t always invested in their interactions with each other. Although choreography by Jennifer Weber sometimes showcases the cast’s skill, other times it looks akin to a high school theater program, especially when delivered with halfhearted commitment.

“& Juliet” is saved just a little by the sheer musical talent in the cast. Juliet (Rachel Simone Webb) boasts impressive breath control, a powerhouse belt and chill-inducing riffs in songs like “Baby One More Time” by Britney Spears and “Since U Been Gone” by Kelly Clarkson. The voices of characters such as Anne and May (Nick Drake) also shine during their louder songs.

While individually, it’s clear that these performers have talent and experience, their combined vocals fall short at times. Occasional moments in the songs sound as if some of the actors are off-key or out of sync with the orchestra. The lead actors also seem more expressive during scenes than in songs — perhaps the lyrics lose their meaning when we’ve heard them so many times.

Sadly, powerful vocals and innovative stage components aren’t enough to save this musical. Unless you have a passion for underdeveloped characters and a lack of onstage energy, you wouldn’t miss out on much by giving “& Juliet” a rain check.

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