Embedded Files
Can a returning cult favourite still deliver the same sugar-rush energy, razor-sharp wit and deliciously dark humour that made audiences fall in love with it in the first place? Thankfully, the answer is a resounding yes. Back at the Marble Arch Theatre, Heathers: The Musical proves that some shows really are worth getting murdered over.
A firm favourite in the musical theatre world, Heathers returns with a fresh new cast while retaining Andy Fickman's slick and stylish direction. Combined with an exciting new home, it felt like the perfect time to revisit Westerberg High.
The move to the Marble Arch gives the production a new sense of intimacy. With fewer seats and a more compact space, I felt closer to the action than ever before. As the familiar pre-show music faded away and the lights dimmed, the audience settled into anticipation before those iconic words rang out across the theatre:
Dear Diary...
For anyone unfamiliar with the world of Heathers, the story follows Veronica Sawyer, an outcast who suddenly finds herself catapulted into the inner circle of Westerberg High's most feared and admired clique: the Heathers. But when she falls for the mysterious JD, Veronica quickly discovers that popularity may not be everything it promises to be. With book, music and lyrics by Kevin Murphy and Laurence O'Keefe, the show has grown into a bona fide cult classic since its debut.
Before focusing on everything this production gets right, I'll briefly mention my only minor criticism. Rather than the show itself, it was an issue with the sound, which I'm sure will be ironed out as the run continues. As the production has only just entered previews and recently had its press night, the occasional technical hiccup is to be expected. At certain points on stage, usually to my left, the microphones seemed to miss the first couple of seconds of dialogue. It was a small issue and one that never detracted from my overall enjoyment.
Much of what makes Heathers so beloved remains reassuringly intact: the effortlessly shifting set pieces, the iconic score that had audience members bopping along, and, of course, the instantly recognisable costumes. I still maintain I could pull off Heather Chandler's look. But these elements are already firmly embedded in the show's legacy; this production's strengths lie elsewhere.
With the casting only revealed in recent weeks, anticipation was high to see who would make up the latest Westerberg class, and the wait proved worthwhile. My first standout performance came from Sophie Manners as Martha Dunnstock. She brought a warmth and charm to the role that made every appearance on stage a delight, capturing Martha's innocence in a way that felt especially genuine and unlike any portrayal I'd seen before.
Gerardine Sacdalan takes on the role of Veronica Sawyer, a seventeen-year-old who, despite the pressures of high school, keeps a level head and always tries to see the best in people. I cannot overstate how much I loved her performance. Her Veronica was effortlessly sassy while also embracing the character's wonderfully awkward, goofy side, creating a portrayal that felt both authentic and immensely likeable. As the story progresses, Sacdalan expertly captures Veronica's transformation, clearly distinguishing the hopeful, witty teenager of Act One from the young woman whose world spirals beyond her control in Act Two. It was a compelling evolution to watch, and paired with her exceptional vocals, particularly during ‘I Say No’, she delivers a Veronica who is impossible to take your eyes off.
Louis Hearsey takes on the brooding Jason "JD" Dean. While I found his performance grew considerably stronger in Act Two than in Act One, the chemistry between JD and Veronica occasionally felt a little one-sided, with Gerardine Sacdalan carrying much of the emotional weight. That said, their rendition of Seventeen was a genuine highlight, serving as a poignant reminder that, beneath the murder and mayhem, these characters are still teenagers trying to navigate a world far beyond their emotional maturity.
Markus Södergren and Beau Jackson bring plenty of energy and humour to the roles of jocks Kurt and Ram, with their performances becoming increasingly entertaining as the show progressed. One particular shirtless moment had the audience roaring with laughter, highlighting the pair's excellent comic timing.
In previous reviews, I've often compared the trio of the Heathers to the Plastics from Mean Girls, and I still think the comparison holds true. Lou Henry and Jessica Ibadin, as Heather McNamara and Heather Duke, are convincing as Heather Chandler's loyal followers—until shifting loyalties begin to emerge. In particular, Ibadin expertly captures Duke's growing ambition, making her transformation all the more compelling.
That brings me to my final standout performer, Liberty Stottor as Heather Chandler. I mean this as the highest compliment: her Heather Chandler is utterly, unapologetically bitchy in exactly the way she should be. She perfectly embodies the character's ruthless confidence and ability to command both fear and admiration, making it easy to understand why everyone falls under her spell. Every time Stottor stepped onto the stage, she commanded the audience's attention. As for her vocals, I will let ‘Candy Store’ speak for itself.
Overall, this latest production of Heathers is a welcome return, reminding me exactly why it remains one of my favourite musicals while introducing several performances that now rank among my favourite portrayals of these iconic characters. Retaining the sharp wit, biting satire and wonderfully dark comedy that has always defined it, the production is packed with character from beginning to end. With only a limited London run before embarking on a major UK tour, there's still room for the production to develop and grow beyond The Arts at Marble Arch. Even so, it's already a thoroughly entertaining revival that proves Heathers still has plenty to say, nearly four decades after the original film's release.
A cast worthy of wearing the scrunchie… How very... sensational
⭐⭐⭐⭐
Page updated
Google Sites
Report abuse