Heathers: The Musical

“Sex, suicide, mental health, not typically the thematic headliners of a youth theatre production.”  So states director, Georgia Broomhall, in her excellent directors notes for Pelican Productions terrific production of Heathers: The Musical by Laurence O’Keefe and Kevin Murphy. Yes – and no. Yes, because its subject matter is provocative and confronting; No – because these themes still matter to contemporary youth. Furthermore, these themes have featured in several major American musicals, including Next to Normal (2009), Dear Evan Hanson (2015), and Fun Home (2015), signalling a significant evolution in twenty-first century musical theatre; an evolution that is primarily focused on the young. Like these musical, Heathers: The Musical gives a voice to these concerns; and in this case, made even more pertinent by being performed by a wonderful, talented, committed (and large) ensemble of young musical theatre artists.

Heathers: The Musical, based on Michael Lehman’s film Heathers (1988), was first produced in 2013. Since then, it has enjoyed several professional productions throughout the world; and has become a favourite in schools. I have seen a number of high school and amateur productions of Heathers, signalling its relevance, popularity, and importance to modern youth. It means something to them; deep and dark, as well as a lot if fun.

Set in an American High School, young seventeen-year-old Veronica Sawyer (Sammi Keough) contends against the hideous bullying led by aggressive jocks and bitches; particularly ‘The Heathers’ – three formidable vixens, Heather Chandler (Tayla Prime), Heather Duke (Caitlin Laventure), and Heather McNamara (Lily Norton-Stewart), ruthless divas who take pleasure in bullying. Desperate to find happiness via status, Veronica becomes a Heather. Her entry to this elite tribe? Her ability to forge letters, notes, hall notes, etc. Veronica, however, soon discovers that all that glistens is not gold and begins to resist. Things aren’t looking too good for Veronica, she is trapped in a web of her own making; then she meets J.D (Teagan Garvey), and the deaths begin. The argument? Justification? As JD states, if it is “happiness” you desire, then they have the power to remove any barrier to that happiness, including killing people who have made you cry. A twist, a savage satiric twist, on the sacred American ethos, the inherent right to “the pursuit of happiness.”

This satire is also a moral tale, a Faustian pact with devils. Veronica basically sells her soul to not one but two devils, ‘The Heathers’ and J.D. This does all sound very bleak. However, what is wonderful is its wit and humour, the devilish energy, and the sheer audacity; performed with great relish by this ensemble.

Beautifully staged and directed by Georgia Broomhall, with Ben Francis (Musical Director), and Syenayde Patterson (choreography), this production flowed seamlessly, from large ensemble dance numbers, dramatic scenes, to intimate duets and solos. It was thoroughly engaging from beginning to end. Full credit must go to Broomhall’s creative team, including those responsible for the set design and stage management – Anthea Prime, Ray Cullen, and Kate Nairn.

While the savage satiric humour dominates, there was also poignancy and depth, most notably in the duet ‘Seventeen’, beautifully performed by Sammi Keough and Teagan Garvey, and the heart-breaking solo, ‘Kindergarten Boyfriend,’ performed by Darcy Yelland as Martha – a highlight of this wonderful production. I also thoroughly enjoyed Caitlin Laventure’s demonic Heather Duke, leading the ensemble in her grab for power, ‘Never Shut Up Again.’ As with any great satire, there are a several scenes and numbers that still have considerable shock value, especially to parents who may be unfamiliar with Heathers. This includes, ‘Our Love Is God,’ the intimate love duet between Veronica and J.D., and ‘My Dead Gay Son,’ a gospel-like lament that turns into a celebratory anthem involving the whole ensemble. They push the satire to the max. These and other things raised an eyebrow or grunt from me, and the two dads I was sitting between; meanwhile the mums were laughing and cheering. The sheer audacity is wonderful potent, and these moments were handled brilliantly by everyone involved; and besides, the purpose of satire is not to arouse a belly laugh, the black humour more likely to trigger a wry smile, and I was smiling a lot during this production.

I am big fan of Pelican Productions; always producing work of the highest calibre and providing an avenue for young musical theatre artists to gain invaluable experience. The dedication, commitment, love and support is palpable - both on-stage and off. Thank you for another terrific production. Bravo!!!

Tony Knight