‘Heathers: The Musical’ Review: Dir. Andy Fickman (2023)

In 1989 Micahel Lehmann helmed one of the best dark-hearted teen films in cinema, Heathers. The film starred Winona Ryder and Christian Slater as teenagers, the popular Veronica Sawyer and newcomer Jason ‘J.D’ Dean. Veronica is part of the ruling high-school clique ‘The Heathers’. She despises her position amongst them, but fears the fall from social stature. After her head is turned by the rebellious bad-boy J.D she finds herself helping murder her classmates, passing their deaths off as apparent suicides. The subject matter was certainly controversial as, whilst John Hughes’ teen films were being consumed by the masses, Heathers was quietly enlisting a cult of fans. Then in 2018 came news that no one expected to hear, Heathers was being adapted into a musical for the stage. 

The show proved popular, winning over audiences in America and England alike. Now, for one night only, the Musical arrives in cinemas across the UK, bringing the film’s journey from cinema to stage back full circle. The live recording was captured in its original London home, The Other Place, and is a must-watch for those in the audience that fateful day. Wrapped around and amongst the show are glimpses of the audience, so if you were present for the recording, there’s a chance you might spot yourself. 

For those that haven’t been able to catch the show, either in London or on one of its UK tours, this is the perfect opportunity to get caught up. It is worth noting that the musical sets itself in the same time period as Lehmann’s movie and as such, there is some questionable language and viewpoints that might upset some. It’s impossible to tell the Heathers story without them as the film was taking direct aim at these opinions. The plot follows that of the film, with a few deviations for pacing and clarity. For example, in the film Veronica is an established member of the Heathers; the musical begins explaining her ascension. The explosive near ten minute long opening number, ‘Beautiful’, covers off all vital exposition, easily setting the scene so that even those unfamiliar with the film will understand the status quo. 

The most impressive aspect of Heathers: The Musical is how the show manages to balance both musical lovers and fans of the film’s expectations. It blends the music into the well known plot beautifully, transporting the movie’s multiple locations to just a few on stage sets seamlessly. The songs themselves journey through the genres from bubble-pop to power ballad and hip-hop. They are all toe-tappingly catchy, though the stand-out ones have to be ‘Candy Store’, ‘Dead Girl Walking’, ‘Our Love is God’, and ‘I Say No’. The bulk of these were sung either by, or with Veronica, placing a lot of pressure upon the shoulders of their performer. For the recording the role was played by Ailsa Davidson and she did a stellar job with the role. Simon Gordon is also excellent as JD. Both characters are slightly different to their film counterparts, Veronica is more goofy, and JD a tad more chaotic, but within the context of the musical the changes feel right. 

The staging of Heathers: The Musical, especially when coupled with the addition of film cameras for this one-off show, needs to be applauded too. Compared to other London shows, the stage is more compact, but the team does a lot with it. A second level helps add some depth to the visuals and simple set-dressing conjures up non-school locations. The absolute feather in the cap comes via a repeated use of slow-motion. At various points in the show cast members slow down their actions, sometimes all the way to a standstill. A fight between JD and jocks Ram and Kurt, being the most memorable. Veronica sings and speaks over these movements whilst also weaving in between them. At one point Davidson is right up in Gordon’s face and he does not react or flinch in the slightest. At the point of recording the cast were comfortable together, but the lack of flinching is impressive. As a stage show, any acknowledgement might be hidden for the majority of the audience, depending on their seats, but here the camera is right up close, capturing the magical moment perfectly. 

What made Lehmann’s film so enticing, outside of the pairing of Ryder and Slater, was its message about society. Heathers: The Musical replicates this, but also adds some of its own moments. Martha Dunnstock gets a saccharine sweet ballad solo that breaks the heart, humanising the butt of the movie’s jokes. The song ‘You’re Welcome’ is a savage commentary on date rape, but it is the casting of the adult characters that is most interesting. The teachers and parents of the high-schoolers are all played by the same set of interchangeable actors. They morph from parent to teacher and back again throughout the show. It presents all adults as appearing the same and helps build that gulf between teen and grown-up that is necessary for the story to work.

Adaptations will always be tricky, but the care and dedication that has been put into the creation of Heathers: The Musical is stunning. This live-recording is especially magical as the electricity of the audience that night permeates every cast member’s performance, the result is super-charged performances across the board.   Full of zingy dialogue, catchy songs, and a sizzling cast, this is one night at the movies not to miss. 

Heathers: The Musical is in cinemas for one night only on 28th March 2023.