Curve Theatre – Until 10th October 2026
Reviewed by Amarjeet Singh
3***
With a jukebox musical, you generally know what you’re getting. In the case of Heathers the Musical, that means huge songs, teenage angst, dark humour and a story that has built a fiercely loyal fanbase. It’s a blockbuster of a musical, driven by a sharp script and a score packed with memorable numbers.
This production is certainly energetic. From the moment Beautiful explodes onto the stage, Westerberg High is brought to life in a riot of colour, movement and attitude. Andy Fickman’s direction keeps the pace high, while Gary Lloyd’s choreography ensures there is rarely a still moment. Combined with David Shields’ vibrant design, Ben Cracknell’s punchy lighting and Dan Samson’s crisp sound design, the show looks and sounds fantastic.
Kevin Murphy and Laurence O’Keefe’s adaptation remains the show’s greatest strength. Following Veronica Sawyer’s rise through Westerberg High’s pecking order and her increasingly toxic relationship with JD, the story combines biting humour with some surprisingly uncomfortable themes. Bullying, suicide and the need to belong all sit beneath the surface, giving the show more substance than its candy-coloured exterior initially suggests.
The score sounds superb throughout, with Seventeen, Our Love Is God, Dead Girl Walking and Kindergarten Boyfriend all receiving the powerful treatment they deserve.
There is no question this company is talented. Unfortunately, some of the character choices stop the production from reaching the heights this material is capable of.
As Veronica Sawyer, Gerardine Sacdalan possesses an undeniably impressive voice, but the characterisation feels strangely at odds with the role. Veronica repeatedly flits between simpering soprano and overexcited toddler, stripping away much of the sarcasm, intelligence and cynical wit that defines her. The performance often feels affected and, as a result, several important story beats fail to land with the emotional impact they need. Musically elongated, almost operatic phrasing frequently jars against a character who should feel sharp, quick and grounded.
A similar issue extends to Louis Hearsey’s JD. While the vocals are strong, the interpretation feels peculiar. The constant twitching, jerking and pulling at clothing becomes distracting, leaving us with a JD who feels more agitated than dangerous. Missing is the dark charisma and wounded magnetism that makes the character such a compelling presence and makes Veronica’s attraction to him believable.
Elsewhere, the production finds stronger footing with the supporting characters. Liberty Stottor captures Heather Chandler’s confidence and cruelty well, while Lou
Henry brings warmth and vulnerability to Heather McNamara, particularly during Lifeboat. Jessica Ibadin never feels entirely comfortable as Heather Duke. Veronica Carabai wins over the audience as Ms Fleming, particularly through some excellent ad-libbing and a hilarious exchange with an audience member. Sophie Manners is a likeable Martha and brings a sincere emotional quality to Kindergarten Boyfriend without pushing the sentiment too far.
There is still plenty to enjoy here. The cast throw themselves into the material, the ensemble maintain the show’s momentum throughout, and the songs remain among musical theatre’s most entertaining. Yet Heathers lives and dies by its central relationship, and when Veronica and JD fail to fully convince, the show’s emotional core suffers. Visually vibrant, musically strong and overflowing with energy, this is still an enjoyable evening of theatre. However, some baffling performance choices prevent it from becoming the knockout punch that Heathers the Musical can and should be.