Heathers the Musical

Being of a certain generation, a.k.a. being a theater kid in middle school in 2016, I’ve always loved Heathers the Musical. Long before I ever watched the 1989 filmic source material, it was one one of the first pieces that taught me that theater could be young, fun, edgy, and raunchy. The music is electric and contagious, becoming something that’s occupied a tiny part of my brain ever since I watched the grainy bootleg of the original production on Youtube years ago.

I’ve recently gained a new perspective on the work, as this past year my friends and I put on a peer-led production of our own at our university. Serving as Co/Assistant Choreographer, I got a glimpse of the work behind the scenes that’s required to develop such a full-fledged musical, a learning experience I truly valued.

So, when I learned that the Australian touring production, which is the same as the ones currently running Off-Broadway and in the West End, was going to be in Sydney while I was interning here, I jumped at the chance to see local talent in a show I enjoy so much!

Written by Laurence O’Keefe and Kevin Murphy, Heathers follows outcast Veronica Sawyer as she’s whisked into the world of the popular clique at Westerberg High, lead by three vicious teen queens known as the Heathers. When mysterious rebel J.D. arrives in town, Veronica finds her high school escapades of love, friendship, and social status taking a murderous turn.

Emma Caporaso beautifully leads the company as Veronica; it’s hard to believe that this is her professional theater debut. While belting out Veronica’s rock repertoire, she maintains wonderful comedic timing, charming the audience with her quirkiness and spunk. Caporaso’s talent doesn’t dwindle during dramatic moments either, her use of silence letting the audience sink into scenes’ emotional underpinnings.

Opposite her is Connor Beaumont, playing the engaging but psychopathic J.D. As it turns out, Beaumont has also played Patrick Bateman in American Psycho with theater company See You Sunday, which definitely makes sense seeing how brooding and sinister his J.D. is. I found his physicality to be super interesting, his tall, lanky stature stretching and crouching depending on the line’s intonation, something that turned out to be very effective during Act 1’s chilling finale.

They’re supported by a cast of committed, campy characters and a vibrant production design that heightens the story’s stakes. I specifically wanted to shout out Abigail Sharp, whose Heather McNamara was just as zany as she was introspective, and Mel O’Brien, who provides the show with much needed humanity and kindness as Martha. My personal favorite characters were Ram’s Dad and Kurt’s Dad, portrayed by Ellis Dolan and Brodie Masini respectively, who opened Act 2 with such drama and pizzaz that it made their sons’ comedy seem like child’s play, a difficult task given how many laughs Nic van Lits’ Kurt and David Cuny’s Ram received throughout their stage time.

I think the most interesting thing about watching this production was being the (probably) only American in the audience. The show’s humor reads slightly different here, with certain lines getting responses I wasn’t expecting, which I found fun to experience. Similarly, some of the more niche American references were ignored or changed (admittedly, I was the only one who cheered at the Seattle line in “Dead Girl Walking” and the Hands Across America bit in “Me Inside of Me”).

That being said, Heathers’ fandom and impact still flourishes Down Under, from half of the audience being dressed up to mimic their favorite characters’ costumes to the teenagers sat next to me doing the “Candy Store” choreography in their seat. Aside from having such catchy music, I think that’s why the show has had such a consistent global presence for the past decade: teenagers everywhere can relate to its central themes of adolescent anxieties, nihilism, identity, and empathy.

The Sydney tour leg may be over, but if you happen to be in Perth, Heathers the Musical is on their final tour stop there from now until October 11th at the Royal Theater.