This production had dual casts (Class 1 and Class2) in principal roles. In the interest of fairness to all, TASA reviewed both casts. David Smith reviewed Class 1 and Terry Mountstephen reviewed Class 2.
Class 1
Set in a US high school where the queen bees (the Heathers) and jocks dominate, this musical transcends the predictable victimisation of the weak by the popular and strong. It takes us to some deep, dark places of human behaviour and poses a number of serious questions about our values. In a sense it is a moral tale of right and wrong, but even then, it’s ambiguous. The thorniest question it puts to us, and has us genuinely contemplating, is whether murder can be justified if it serves the common good.
What was especially impressive in this spirited production, cleverly directed by Georgia Broomhall, was the commitment and broad talent of the well-chosen cast, along with a driving, compelling pace. Alongside those undoubted merits were the precise and vigorous choreography of experienced Choreographer Shenayde Patterson, and the well rehearsed and modulated singing, under the direction of MD, Ben Francis. Indeed, the supply of fine singing seemed inexhaustible, from both principals and the ensemble.
Sammi Keough was superb in the pivotal role of Veronica. She excelled in her songs, whether reflective or soaring, and her portrayal of the sensitivity and vulnerability of the character were utterly convincing. Her duets with JD Our Love Is God, Shine A Light and I Say No showed great sensitivity and power. From the opening number where her descriptive and narrative monologues were played in and around the cast holding a freeze, through her ‘Dear diary’ expositions, her tempestuous love scenes with JD, her struggles against the Heathers and the jocks to preserve her morality, to the final reconciliation with others and herself, she was thoroughly credible. She related well to all the other characters, especially JD, with whom Veronica has a complex, often changing relationship.
Teagan Garvey played JD with both subtlety and strength of character. His JD was a troubled and disturbing soul, growing in strength to his final crazed outburst. His duets with Keough were impressive. They were well matched in strength of character and some sublime harmonies. He authentically presented some of the most important moral issues, such as when he tells Veronica, in an ends-justifying-means argument, that they are justified ‘in making the world a decent place for people who are decent.’
The three Heathers, played by Tayla Prime, Caitlin Laventure and Lily Horton-Street were critical to the mood and action. As the dominant Heather Chandler, Prime was controlled and menacing, all the more so after the character’s death when she visited her venom on Veronica in her more vulnerable moments. As a trio they moved and sang with precision and style.
The school jocks, Kurt (Zach Bartlett) and Ram (Freddie Windle), were aggressive, arrogant and humorous, often all at the same time – that is, until their demise. Darcie Yelland as Martha, the victim of the school, was consistent and convincing in the role, and used her fine voice to great effect in the sadly reflective solo Kindergarten Boyfriend. Hannah Brown played the ‘hippie’ teacher Ms Fleming with conviction and presence, and her song Shine A Light was a treat. All other minor leads were highly competent and shone when appropriate – Hanno de Klerk and Leo Sage as the dads brought the house down in their song My Dead Gay Son.
All this was supported by a strong ensemble whose singing, dancing and characterisation were disciplined, lively and controlled. The production was well served, too, by the sensitive lighting plot of Cambell Lawrence, Jen Frith and Georgia Broomhall, and the well balanced sound design and mixing of Ethan Hurn.
The large audience was extremely enthusiastic and attentive and gave loud and long acclamation to the cast from start to finish. And that was well deserved.
This is a prime example of what we should value in musical theatre. It has pace, coherent direction and a deep well of singing, acting and dancing talent. Hats off to Pelican Productions.
Class 2
With each cast comprising 33 performers – 8 of whom appeared in both – this combined total of 58 individuals was clearly drilled to perfection. The performance I saw was impressive, demonstrating the high level of preparation across the board.
Alex Kudra delivered an exceptional performance as JD, both vocally and in his character development. From the enigmatic “Freeze Your Brain”, where JD was an intriguing mystery, to the chillingly unhinged “Meant to be Yours”, Kudra captured the character’s descent into madness flawlessly. His early moments of vulnerability, particuarly in the scenes with his father, added emotional depth, making the audience first fall in love with JD before being unsettled by his darker side.
Lluka Wadey brought a well-rounded portrayal of Veronica, notably in her chemistry with JD. The charged intimacy in “Dead Girl Walking” was portrayed with intensity, making the scene both convincing and impactful. Wadey’s duet “Seventeen” with JD, highlighted both her vocal and acting skills. Together with Kudra, their dynamic kept the audience hooked.
All three Heathers – Chandler (Taylor Schwartz), Duke (Emma Pool), and McNamara (Abi Sharp) – brought their mean girl clique to life on stage. Abi Sharp delivered a heartfelt rendition of “Lifeboat”. Her ability to deliver lines with a mouthful of ‘tablets’ was impressive, and as she gradually spat them out, the audience erupted in laughter, even as the darker undertone of the moment lingered.
Juliette Keir brought a sincere vulnerability to Martha, in particular during “Kindergarten Boyfriend”. As the comedic jocks Ram and Kurt, both actors, Jack Keukenmeester and Ewan Pugh, embraced their roles with enthusiasm. Their exaggerated bravado was well-played, contributing playfulness and energy to the scenes they were in. The scene-stealing number “My Dead Gay Son” with Hanno De Klerk (Ram’s dad) and Leo Sage (Kurt’s dad) had the audience roaring with laughter, followed by an enthusiastic round of applause. Both De Klerk and Sage demonstrated their versatility, with De Klerk taking on the additional roles of JD’s dad and the Coach, and Sage also portraying Veronica’s dad and the Principal.
The ensemble was a powerful presence throughout the show. The freeze in “Fight for Me” was particularly well-executed, and the vocal support in “I Say No” from the wings was perfectly on point. The harmonies, including the chant of “Very” in Veronica’s nightmare sequence and those in “Seventeen (Reprise)”, were beautifully done, leaving a lasting impression in the finale.
The audience response was electric throughout the night, with laughter, applause, and audible gasps during key moments. The enthusiasm from the crowd fed into the energy of the cast, creating a vibrant and interactive atmosphere in the theatre. While there were a few moments where some notes didn’t quite land as intended, these instances were minor and did not overshadow the overall strength and enjoyment of the performance.
Pelican Productions’ Heathers the Musical – Cast 2 – offered a stellar performance. The maturity with which these young actors handled such dark, challenging material was impressive, leaving the audience thoroughly entertained and moved.
