REVIEW: Heathers - Beenleigh Theatre Group

Heathers the Musical

Beenleigh Theatre Group

Director: Blake Russell

Musical Director: Julie Whiting

Choreographer: Holly Leeson

“Hey kids, make your teachers cry! Get the respect you didn’t get in life.”

Sitting front row at Heathers means you are close enough to feel personally judged. The sold-out house was loving every second, caught between giggles and blushing (particularly during 'Dead Girl Walking'), and maybe just a tad traumatised, with nowhere to hide from the teenage drama playing out just metres away.

Beenleigh Theatre Group leaned right into the dark comedy of this musical and had the audience eating out of the palm of their hand. The trigger warnings at the start were extensive and hilarious, setting the tone immediately. Beneath the croquet mallets, slushies and shoulder pads, this production understood what Heathers is about: the suffocating pressure of teenage hierarchy, the price of fitting in, and that delicate line between invisibility and infamy. With music and lyrics by Laurence O’Keefe and Kevin Murphy, based on the 1988 film, the story follows Veronica Sawyer as she scales the treacherous slopes of Westerberg High’s social mountain, only to realise the peak comes with dangerous consequences.

The multi-level set by Tahnya Bella, Blake Russell, and Glen Heriot, framed by brightly coloured lockers, created a fun, flexible playground for all the chaos of Westerberg High. Scenes flowed easily with simple moveable pieces, and the design never overcomplicated the stage picture. Lighting by Chris Art and Tom O’Driscoll made great use of strong colour washes to support the tone, and the disco ball moment for 'Seventeen' added a full prom-style shift. And the addition of slinkies bouncing down from the ceiling during 'Big Fun' were the cherry on top.

Costumes by Sam McLaughlin and Maddison Joyce knocked it out of the park. The shoulder pads were non-negotiable, the colour blocking popped, and Heather Duke’s transformation moment was especially satisfying. The ensemble outfits were a love letter to the 80s, embracing every stereotype like it was going out of style (oh wait, it did!). As for the wigs by Taylor Atly, they were definitely aiming for the iconic film looks. But while the intention was clear, there were moments where the wigs felt a little distracting, particularly when some performers’ natural hair would have worked perfectly well.

Musically, the show was expertly guided by Julie Whiting. Despite the score's vocal and rhythmic challenges, the cast performed with complete confidence. The harmonies were spot on, the ensemble work was solid, and they clearly put a lot of thought into the vocal casting of the leads.

Jaime O’Donoghue is undeniably talented as Veronica. She has that slightly awkward, dorky quality that makes the character pop, while still having the vocal strength to carry the show. There is actually a hint of Winona Ryder in her physicality, which works beautifully for this role, especially after seeing Jaime channel that same energy so well in Stranger Sings earlier this year. Her vocal runs in 'Beautiful' were stunning, her tipsy acting was hilariously accurate, and her emotional spiral later in the show felt realistic. 'I Say No' is no small ask after everything that comes before it, and Jaime handled it with epic stamina.

Adam Goodall’s portrayal of J.D. leaned into the darkest sides of the character from the get go. 'Meant to Be Yours' was a vocal powerhouse moment, with the backing singers building the tension effectively. His performance is dangerous, highly aloof and expressionless, which added to the unease. I did miss that initial charm that makes you understand why Veronica falls for him in the first place. Nonetheless, the intensity was there, and it escalated well across the show.

Katrina West was completely in control of her kingdom as Heather Chandler. Forget just running the school; she owned the Crete Street Theatre. The attitude, the presence, the vocals, it all locked in. 'The Me Inside of Me' was a standout, with real humour in those ghostly moments where she casually filed her nails or observed the chaos around her with complete detachment. Plus, her red feather slumber look was divine.

Ally Hickey’s Heather Duke had a great sense of build, and 'Never Shut Up Again' was insanely impressive. It is a challenging number and she rose to it with strong vocals and high energy. Leah Erskine’s Heather McNamara brought a lovely mix of ditzy charm and vulnerability, paired with genuinely beautiful vocals. 'Lifeboat' was divine, even if it sat just slightly low for her range. The emotion still came through clearly, and she gave the character real heart. Together, the Heathers worked so well as a trio. 'Candy Store' was slick, sassy, and confident. You could see the hierarchy immediately while still getting distinct personalities from each of them.

Emily Rohweder as Martha was perfectly cast. There was such a genuine innocence and sincerity in her performance that made 'Kindergarten Boyfriend' devastating. I completely believed her lifelong crush and that quiet, unwavering devotion she had carried with her for years. Greyson Vaughn and Anthony Vitetzakis were comedy standouts as jocks Kurt and Ram, completely fearless, fully committed, and always entertaining to watch. Both leaned all the way into the physical slapstick, clearly understanding the assignment and then pushing it even further. 'Fight For Me' was brilliantly blocked, while 'You’re Welcome' was driven by their unapologetically over-the-top tenacity,

Darcy Morris as Kurt’s Dad and Sean Wilson as Ram’s Dad were a total riot, nabbing the spotlight like pros in 'My Dead Gay Son'. Meanwhile, J.D.’s dad brought a seriously unsettling presence, which gave those darker scenes extra weight. A.P. Aimee Boyd’s Ms. Fleming channelled that larger-than-life, almost Starkid-esque flair that suits the role. The ensemble roles fully committed to the bit, which makes all the difference in Heathers. Levi Rayner’s sound work was generally spot-on, with just a few moments that could use some fine-tuning for clarity. 'Shine a Light' might not have dazzled visually in the same way as other numbers, but the vocals were rock solid.

What this production does particularly well is honour both sides of Heathers: the outrageous satire and the very real teenage angst underneath it. Blake Russell’s direction allowed the humour to land because the underlying truths were always present. It is bold, committed, and full of detailed acting, blocking, and technical choices that show real intention. From the fearless ensemble to standout character work and strong musical direction, Beenleigh Theatre Group clearly trusts the material and each other.