Book, Music and Lyrics: Laurence O’Keefe and Kevin Muphy
Director: Andy Fickman
Heathers seems to have achieved iconic status in rapid time. Based on the memorable 1989 teen movie, the musical adaptation has returned to The Other Palace time and time again since its 2018 premiere, acquiring an even more ardent fandom as it goes. Luckily, the production and its freshly rejigged cast mostly live up to the hype.
At preppy 80s school Westerberg High, Veronica Sawyer (Erin Caldwell) is the lowest of the low – until she does a favour for mean queen Heather Chandler (Maddison Firth) and her cronies Heather Duke (Vivian Panka) and Heather McNamara (Jasmine Beel). Suddenly raised to popular status, Veronica has to deal with guilt over abandoning best friend Martha (Lydia Eliza Roberts); lecherous jocks Kurt (Tobias Turley) and Ram (Brandon Gale); and mysterious, dangerous new boy J.D. (Nathanael Landskroner). What’s a girl to do – and who might die in the process?
Essentially a pop-rock musical about teen suicide and self-expression, Heathers toes the line between black comedy, camp and genuine pathos, largely managing to pull off the contrast. No one is left out of the satirical firing line, from uninterested self-serving adults to the myth of the sensitive loner. The show touches on themes of conformity, sexuality and the glamourisation of trauma with honesty and humour. High school is a funny but dangerous minefield, says the show, making it easy to see why so many teenagers have been attracted to it. Sometimes these themes get diluted or buried under the need to create a spectacle—something which the musical excels at, utilising the restricted space of The Other Palace to its fullest degree. However, their overarching resonance remains, in a relatable tale of teenage trauma almost perfectly aimed at a youthful fanbase.
Helping smooth over some of the rockier patches in the score are the uniformly strong and committed performances of the cast, who from smallest chorus member to lead imbue their characters with personality and flair. All are in fine voice and are given chances to belt to the rooftops. Most noticeable are the sections where the “adults” of the piece are allowed to shine, as two dads (Ryan Bennett and Stuart Turner) lament their ‘dead gay sons’ and teacher Ms Fleming (Ashleigh Harvey) uses teen suicide to explore her own issues.
As the destructive teen lovers, Caldwell and Landskroner have genuine chemistry, and Caldwell almost steals the show with her transformation from ditzy, lovestruck teenager to cynic to hopeful survivor. Almost, but not quite: in each scene they appear, Turley and Gale’s jocks waltz in and walk off with all the laughs. But there are moments of pathos too, particularly in Roberts’ solo as Martha contemplates suicide. The fact that the cast can switch so easily from one to the other is applaudable.
Unfortunately, there are some problems with diction and audibility throughout the show. Multiple numbers are affected by this, which meant many lyrics are unintelligible and otherwise enjoyable vocal performances are undermined. Although this won’t be a problem for Heathers’ many fans, some of whom can be seen mouthing the lyrics throughout the show, it makes it less accessible for those new to the storyline, meaning that occasionally important plotlines are lost or confused. In such a fast moving spectacle, keeping on top of events is vital, and not being able to hear what’s being said is a genuine problem.
Heathers deserves its plaudits: a funny and heartfelt show shot through with a streak of darkness and satirical wit and its excellent cast prove natural comedians with exceptional voices. If only we could always hear what they were saying.
Runs until February 2023
The Reviews Hub Score
Hilarious and heartfelt
