Heathers first opened in London at The Other Palace in 2018, and it’s since had two West End runs, tours, and opened back at TOP in 2021. Although this was originally announced as a limited run, the show has called TOP home for over a year now and has consistently sold out the theatre!

Heathers The Musical is based on the 1988 film of the same name, starring Winona Ryder and Christian Slater. The musical follows Veronica Sawyer who manages to worm her way into the elite group of ‘Heathers’ (Heather Chandler, Heather Duke and Heather McNamara) who rule the school. But things take a sinister turn when she develops a crush on bad boy JD and classmates start to wind up dead…

On the night we visited Westerburg, May Tether was the one donning the blue blazer. This was my second time seeing Tether as Veronica; I also saw her perform on tour last year in the role and have been a fan ever since. Her version of Veronica is goofy, lovable, and endearing, but also has an inner strength to her – which she clearly shows when she finally stands up to JD and ‘says no.’ Tether displays phenomenal vocals throughout the show, with ‘I Say No’ being the standout number of the entire show. Her vocal control within this performance is astounding.

The current wearer of the iconic red blazer is Maddison Frith. Her performance as Heather Chandler unfortunately lacked something for me. It may have been that Tether’s and the other Heathers’ performances were energetic throughout, which really highlighted the reduced level of energy in Frith’s performance. I think her rationale behind this was to play Chandler as smug and pouty, but it was too contrasting to the performances of the other leads and meant that the mythic bitch wasn’t quite the standout role it should be in this production. However, Frith’s voice is wonderful.

The Heather that does stand out is McNamara (Jasmine Beel). Beel is an absolute joy to watch, her vocals are consistently strong throughout the performance, and she brings a sweetness to the role that makes this Heather so likeable.

I also feel as though the casting for JD isn’t right, as he did not appear to be a similar age to the others on stage. I know casting slightly older people to play high schoolers isn’t a new concept, but in this production this casting doesn’t work and slightly diminishes the role’s believability.

I love the soundtrack of Heathers, and I think that is where the production really shines. The songs are varied and catchy, with pop style numbers such as ‘Candy Store’ which have you bouncing in your seat, to absolute belts such as ‘I Say No’ and ‘Lifeboat.’ I did find that some of the vocal performances were slightly shouty in places throughout the show, which felt unnecessary, particularly in such a small space.

The choreography by Gary Lloyd is sharp and precise; I don’t know who can teach me the ‘Candy Store’ dance, but I want to learn it! The finale, however, could use some actual choreography – it felt as though the cast were improvising, and the finale could be a showstopper with some finetuning and tightening.

I also feel like I need to highlight in my review that Heathers could be doing so much more in terms of diversity in their casting. It’s 2022, and diversity and inclusivity should be at the forefront of every production – I should not be having to write a passage like this in any review, as diverse casting should be the norm. This show attracts a younger audience, and everyone should see someone that looks like them on stage.

Heathers isn’t perfect, but it also doesn’t try to be. It’s camp and satirical with some important messages underlying the script – although I hope not everything is relatable! It’s apparent that Heathers resonates with people and has a strong fan base. Whilst it’s definitely not for everyone, one thing is clear: this is a very fun show – some may say BIG fun.

Rating: 3.5 out of 5.

{🎟 AD – PR invite – Tickets were gifted in exchange for an honest review}

2 Star Review 3 Star Review 4 Star Review 5 Star Review 2022 2023 Adaptation Almeida Cabaret Camden Fringe Cast Announcement Christmas Comedy Dance Drag Edinburgh Fringe Edinburgh Fringe Interviews Fringe Immersive Interviews Jukebox Musical LGBTQIA+ Lyric Hammersmith Manchester Musical New Musical News New Wimbledon Theatre North West Off West End Park Theatre Play Review Revival Richmond Theatre Round Up Royal Court Theatre Shakespeare Show Announcement Show Recommendations Soho Theatre Southwark Playhouse Touring Production VAULT Festival West End

    The infamous Sh!t Faced Showtime are back in London with a festive edition, they have taken Dickens’ classic and put a drunken spin on it. The formula is the same as other iterations of the Shi!t Faced shows, one member of the cast has been boozing, and this time it is John Milton who plays Scrooge. Before the show, half a bottle of Jim Beam, some wine, and beer have been consumed in the previous 4 hours. The rest of the cast, try to keep the show on track, also aided by James Murfitt as the compere, Charles Dickens. The … More A PISSEDMAS CAROL – REVIEW – LEICESTER SQUARE
    Spine-tingling yet heart-warming, Mark Gatiss’s retelling of A Christmas Carol truly encapsulates the haunting atmosphere of a Victorian ghost story, balanced out with enough humour so as to capture the festive season. Led by Keith Allen as Scrooge, with Peter Forbes as Marley, this show is perfect for Christmas viewing. The set design by Paul Wills is instantly captivating, containing stacks of metal cabinets towering over the theatre, moveable by the cast to allow space for other central props like doors, beds and tables. In addition to this, the puppetry design by Matthew Forbes is incredibly clever, adding creepy elements to the show such … More A CHRISTMAS CAROL – REVIEW – ALEXANDRA PALACE
    The title of this winner of Theatre 503’s 2023 International Playwriting Award by Roxy Cook may seem like the set-up to a joke, but the narrative that unspools is instead an affectionate, gently barbed and at base quite sobering portrait of three ordinary souls (and one restless feline) adrift in modern Moscow. There is much affable, satirical back-and-forth commentary on the accepted myths & stereotypes of the Russian spirit & soul. Beset by the indignities of age, opportunism, graft, fatigue, the characters orbit one another, doomed to play out their roles in an unjust, predatory and saturnine universe. The play opens … More A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
    Peter Pan Goes Wrong first premiered in London at the Pleasance Theatre in 2013, and earlier this year the show made its Broadway debut. Now the production is back in the West End for the Christmas season. Following on from The Play That Goes Wrong, in this production, J.M. Barrie’s Peter Pan is staged by the fictitious Cornley Polytechnic Drama Society and goes awry, disastrously so. The meta-comedy is filled with slapstick comedy, sometimes the humour may be predictable and silly, but it’s universally funny throughout – there is something for everyone here, and the laughs come thick and fast … More PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
    Drawing heavily from the classic canon of the British supernatural, HighTide’s trio of contemporary Gothic narratives uses traditional storytelling formats to address contemporary themes. Directed by Elayce Ismail, reverent musical interludes accompany tales of apparitions and nighttime conjurings that speak of women from the East of England. Unfortunately, the effect is less chilling and more lightweight, with conventional structures, predictable plot twists and an over-reliance on external forces to drive narrative shoring up some of the less relatable aspects of the genre. Nicola Werenowska’s The Beach House, perhaps the cleanest of the three tales, tells of a mother and daughter’s … More GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE

Leave a Reply