By Maxine Montgomery
How very!
Melbourne has a darkly humorous treat on its doorstep this April, with the West End and Broadway production of Heathers the Musical having been brought to Australia, and this iteration delivers both style and substance in spades.
A key feature of the production is its cleverly designed set, (the work of David Shields) which comes apart and reconfigures seamlessly to suggest the many locations of the story. Complementing this is Ben Cracknell’s lighting design, which draws on the bold colours of the wardrobe palette to striking effect. Particularly memorable was the rippling water lighting during “Kindergarten Boyfriend,” a moment of quiet beauty that landed with real emotional weight. The choreography, originally created by Gary Lloyd, is highly stylised and perfectly suited to the show’s heightened tone, executed with precision and confidence by the cast.
Emma Caporaso as Veronica Sawyer is absolute fire. Her comic timing is razor sharp, and she sings the role with thrilling ease—delivering “Dead Girl Walking” and “I Say No” as though they were written specifically for her. Caporaso’s energy was electric, drawing your eye to her presence anytime she was onstage, and her performance balances bite with vulnerability in a way that anchors the entire show.
The trio of Heathers—Calista Nelmes (Heather Chandler), Amélia Rojas (Heather Duke), and Abigail Sharp (Heather McNamara)—are played flawlessly. Supported by the strong harmonies of the female ensemble, “Candy Store” is one of the standout moments of the show. Nelmes exudes power and sharpened sarcasm, Rojas charts Duke’s transformation from follower to queen bee with impressive vocal strength in “Never Shut Up Again” (with special mention to the wardrobe team for her slick onstage change), and Sharp delivers a poignant and affecting “Lifeboat.”
Conor Beaumont presents a J.D. shaped deeply by trauma, unable to escape the weight of his past. His vocals are strong and expressive, bringing a haunting quality to “Our Love Is God.” While his “Meant to Be Yours” carried a compelling darkness, it didn’t fully lean into the unhinged chaos the number can reach. That said, Beaumont and Caporaso are well matched, sharing strong chemistry and a palpable intensity in their scenes together.
Mel O’Brien’s Martha is a beautifully judged mix of awkwardness and innocence. She allows the audience to feel Martha’s discomfort while imbuing her with a sincerity that makes her deeply endearing. Her performance of “Kindergarten Boyfriend” is a standout—particularly the stillness she holds during the silent pause, a moment so focused you could hear a pin drop.
A big shout-out goes to the comedic duo of Nic Van Lits (Kurt) and David Cuny (Ram), who deliver some of the show’s biggest laughs. Their success lies not only in strong character work but also in their tightly synchronised physicality.
Zoe Guerts as Ms Fleming strikes just the right balance between misguided sincerity and obliviousness. Her “Shine A Light” is equal parts humour and cringe, and her interaction with audience member “Steve” is a genuine highlight.
Act Two opens with a burst of joy in “My Dead Gay Son,” elevated by gospel-inspired choreography and standout performances from Ellise Dolan (Ram’s Dad) and Brodie Masini (Kurt’s Dad).
The ensemble delivers memorable performances with solid harmonies and sharp dance moves. Each individual character in the ensemble is clearly defined, thanks to strong physicality and consistent use of gesture for each character within the Westerberg community,
Overall, this production captures the anarchic spirit and dark humour of Heathers while showcasing a cast that rises confidently to its demands. Stylish, sharp, and often unexpectedly moving, it’s a production that proves exactly why this cult favourite continues to resonate.
