1989’s Heathers has become a dark comedy classic in the decades since release, inspiring many other like-minded high school flicks such as Mean Girls, Jawbreaker, and so many more. Its enduring themes of bullying, teen suicide, sexual identity, toxic relationships, and trauma broke new ground for the types of genre movies we would be seeing for years to come. Though the film was crafted into a musical all the way back in 2004, I had no familiarity with the songs or any changes made to the story heading into the brand-new Off-Broadway production now showing at New World Stages. Perhaps this was the right way to see it—armed with a fresh rewatch of the cult classic film, viewing Heathers: The Musical through a critical lens became just a little bit easier. With the historical baggage out of the way, this show was definitely one of my favorite theatrical experiences of the year. Fueled by an insanely talented ensemble cast, rich musical numbers, and a hilariously campy tone, Heathers: The Musical is so very.
High school is Hell. At least for the majority of the populous, finding a place to fit in free from judgment and bullying is harder than you’d think. At Westerberg High in 1989, that statement has never been more apt. The three Heathers, donned in red, green, and yellow, rule the school with a judgmental, wickedly cruel outlook. Heather Chandler (McKenzie Kurtz, Frozen, The Heart of Rock and Roll) may be the most vicious of all; Heather Duke (Olivia Hardy, Kimberly Akimbo, Summer: The Donna Summer Musical) can barely get a word in edgewise; Heather McNamara (Elizabeth Teeter, Beetlejuice, The Crucible) mostly throws up a lot. How these three became the most popular girls at school is anyone’s guess. Look no further than the awful, hilariously homoerotic jocks, Kurt (Cade Ostermeyer in his Off Broadway debut) and Ram (Xavier McKinnon, Wicked, Aladdin), for further evidence that what passes as normal high school hierarchy should not be praised.
From the very first entrance of the Heathers, the three women at the center have an undeniable chemistry reflective of their movie counterparts. Their wardrobe presents a harsh, bold color that always stands out onstage. The staging always makes the Heathers the center of attention—unlike Mean Girls: The Musical, which I personally hated, the Heathers actually appear as the most popular girls at school. As Heather Chandler, Kurtz steals the show, delivering razor sharp dialogue with gleeful ease. Later, as a—spoiler alert—ghostly version of her character, Kurtz somehow gets even better. The “fuck me gently with a chainsaw” line deserves a perfect delivery, and Kurtz is more than up for the task. Teeter is also phenomenal as Heather McNamara, particularly in her stripped-down “Lifeboat” musical sequence. Less successful for me was Hardy’s Heather Duke, who seems shaky compared to the rest of the cast. She doesn’t quite meet the same mean bitch prompt as the other women.
Veronica (Lorna Courtney, & Juliet, West Side Story) and her best friend, Martha (Erin Morton in her Broadway debut), are just trying to get through their high school experience unscathed. In a notable change from the film, Veronica begins the story on the fringes of the social ladder. Only through her surprising skills at forgery does Veronica actually become an asset to the Heathers. She sticks up for them with a forged hall pass, and in return simply requests that they allow her to sit with them at lunch. Veronica‘s unusual asset actually comes in handy later in the film, but the musical ties them in early to emphasize their eventual impact. Once Veronica has infiltrated the ranks of the Heathers, a super fun trademark of 80s and 90s films emerges: the makeover. Veronica goes from not to hot just by association, donning a signature blue look akin to the Heathers. Seemingly overnight, Veronica becomes a popular figure around school. As Veronica’s star rises, she must make serious choices that result in bringing her personality closer to a Heather than when she started. Tony nominee Lorna Courtney certainly has a jaw-dropping vocal range, even if she doesn’t quite nail the assertive nature of Ryder’s Veronica. Using the constant narration of Veronica’s diary adds an extra layer of connective tissue to each of the changes in scenery.
Mysterious stranger, JD (Casey Likes, Back to the Future, Almost Famous), presents an actual outsider perspective once Veronica begins her transformation into a Heather. We learn, in music form, that he has been to ten different schools, and Westerberg High is just the latest in a long line of them. Likes emulates a suave, maniacal vibe in an effective take on Christian Slater’s charismatic performance. The wardrobe aids in Likes’s appearance; when not in his signature trenchcoat, JD most probably will be shirtless. The look is perfectly completed by a curly semi-mullet that feels snatched from a bygone era. Likes was the performer I was most looking forward to seeing. In crooning ballads “Freeze Your Brian” and “Seventeen,” a silky smooth vocal emerges from the actor’s expansive register. He is a standout in a show overflowing with contagiously campy excess.
In the bond that forms between JD and Veronica, a most toxic relationship has been born. Heathers explores the darkest depth of this connection, still remembering to leave time to develop both characters. Once we learn JD’s backstory, we can almost understand the horrid murders he carries out in the name of bucking the status quo. His warped viewpoint on society paints almost any situation as a cynical opportunity for more chaos. The musical puts a lot of stock in JD and Veronica, and even makes time for a shining song for Martha, “Kindergarten Boyfriend,” that gives a magical moment to Morton. The show also wisely keeps characters around that have kicked the bucket in the form of ghosts. They are never not hilarious. Each time the show embraces its queer elements, the uproarious applause pretty much says it all. McKinnon and Ostermeyer are phenomenal as Ram and Kurt, respectively.
The refreshing amount of male eye candy stands as a refreshing change to the norm. This version gives us a whole lot of pizazz on an intimate stage. The school effortlessly becomes a farm, or a bedroom, or a school cafeteria. Lunch trays are used as fun props that come into play during musical numbers. A slow motion fight scene is expertly done, complete with exaggerated facial expressions. Nightmare scenes are unique and visually stimulating, whilst the actual songs are peppy and fun. A wake for two characters results in the most effective musical number, titled “My Dead Gay Son.” Heathers may not expand much of what was already presented in the movie, but it does manage to effectively underline the overall messaging. It briefly delves into blindly standing behind causes one knows nothing about. There are moments when dialogue lifted directly from the film doesn’t quite have the same zing as it did cinematically; other times, the show gives an even bolder exclamation mark to their delivery. In this Off Broadway revival, an entirely new audience can experience a riveting story for the first time, albeit with some of the darker edges sanded down a bit. We can’t all be seventeen again, but Heathers: The Musical transports theatre audiences back on a nostalgic trip anyway through the hell of high school.
Heathers: The Musical is now playing performances at New World Stages. For ticketing information, head over to the official website, and don’t eat a brain tumor for breakfast!
