REVIEW: Heathers: The Musical Teen Edition - BG Performing Arts

Heathers: The Musical – Teen Edition

Presented by BG Performing Arts

Director: Sam Caruana

Music Director: Kate Baxter

Choreography: Bella Gordon

Photography: By Brit Creative

There's a certain excitement when you walk into a jam-packed (and pitch-black!) theatre for a youth production, knowing you're about to see a ton of talent on stage. That buzz was undeniable at Heathers: The Musical – Teen Edition, with a crowd of about 300+ eager folks ready for a chaotic ride through the halls of Westerberg High.

For the uninitiated, Heathers is a darkly comic coming-of-age musical, based on the cult classic film, set within the ruthless social hierarchy of an American high school in the 1980s. At the top sit the three immaculate, terrifyingly powerful Heathers, ruling the school with colour-coded confidence and casual cruelty. Enter Veronica Sawyer, an awkward outsider who suddenly finds herself absorbed into their elite clique, along with all the moral compromises that come with it. When she meets the mysterious and volatile J.D., teenage rebellion escalates into something far more dangerous, forcing Veronica to confront popularity, power, and the very real consequences of going along with the crowd.

The Teen Edition keeps the show’s sharp wit and emotional core but puts a little bubble wrap around its more risqué bits for the younger performers. That said, it is still very much Heathers. The “cleaned-up” script leans on creative synonyms, sometimes hilariously so ("Oh-my-god!"), yet still includes references to suicide, violence, abuse, implied hanky-panky, and good old-fashioned teenage terrorism. Under the direction of Sam Caruana, with energetic choreography by Bella Gordon and musical direction from Kate Baxter, this production embraced the dark humour and emotional weight of the material while showcasing just how much these performers could handle.

The stage was absolutely packed with talented performers tackling notoriously demanding material with impressive stamina. Full-cast numbers were a major highlight. Candy Store was expanded into a large ensemble moment with the Heathers front and centre, while Big Fun burst with high-energy choreography, including ambitious floor chorie that showed off both skill and endurance. Shine a Light offered a softer tonal shift, with glowing hand lights adding a cool touch!

Raine Barr led the show as Veronica Sawyer, delivering consistently strong vocals throughout. Her performances of Beautiful and I Say No were as smooth as butter, with riffs and tone that could make even the toughest critic swoon. While Fight For Me sounded effortless and was elevated by the hilarious slow-motion fight sequence. Dramatically, Veronica was played with a more blasé, laid-back approach than is often seen, which meant some jokes did not quite land as strongly as they could have. From the back of the theatre, some dialogue and lyrics were difficult to catch. Clearer articulation would lift Raine's performance further, though vocally she completely carried the show with confidence.

As J.D., William Piper delivered an intense and committed performance that only grew stronger as the show progressed. Freeze Your Brain had a cool, quiet edge, though vocal fatigue became noticeable as the night went on, with Raine carrying much of Seventeen. By the time William reached Meant to Be Yours, his acting was so intense you could practically see steam coming out of his ears. The clenched jaw, barely contained anger, and laser-focused intensity were genuinely chilling. The tension he held in his body was unsettling, and perfectly suited the volatility of the role.

Among the Heathers, Amy Davidson’s queen bee Heather Chandler stole the show, owning the stage with her confidence and killer vocals. Zofia McGuinness was dynamite as Heather Duke, especially during I Will Never Shut Up Again, where she joined the whole cast with feisty choreography. Tilly Kelly wowed everyone with a stunning rendition of Lifeboat, smoothly transitioning from a nervous vulnerability to a vocal powerhouse, showing off excellent dynamic contrast.

Rose Hancock gave a beautifully nuanced performance as Martha, with Kindergarten Boyfriend emerging as one of the emotional highlights of the night. Her gentle tone, clear storytelling, controlled vibrato, and dynamic range completely held the room. A genuinely lovely performance of a heartbreaking song.

Comic relief was in very good hands with Toby Bailey and Alex Townsley as Kurt and Ram. The casting felt spot-on, with bold physical comedy and fearless commitment. I was genuinely surprised to see You’re Welcome included, but it landed with big energy. My Dead Gay Son was a clear crowd favourite, with Hamish Treeke and Zander Hutson clearly having a blast leaning into the song’s absurdity. Isabella Bonaventura’s Ms Fleming brought a funky, humorous presence that added plenty of personality.

Visually, the show was clear, colourful, and easy to follow, especially impressive given the holiday workshop time crunch. The two-level set helped create height and gave most of the cast a chance to be seen, with lockers and simple props like croquet mallets, a 7/11 counter, and a piñata adding to the storytelling without overcomplicating things. I also loved that the ensemble costumes avoided over-the-top 80s clichés. That said, sightlines became a little tricky during extended floor choreography, particularly without tiered seating. Sound was the biggest challenge of the night, with underscoring sometimes overpowering vocals and a few microphone hiccups along the way. Even so, the cast never dropped their energy, pushing right through to the final bow and earning loud, well-deserved applause.

Ultimately, Heathers: The Musical – Teen Edition by BG Performing Arts was a vibrant, ambitious production overflowing with talent. These young performers tackled a difficult score and complex themes with courage, commitment, and connection. It is always exciting to watch emerging artists push themselves into new territory, and many of these performers are absolutely ones to watch.

(Also, a special shout-out to the ensemble character who became pregnant and ended the show cradling a baby. Iconic long-form storytelling. No notes.)