Curve Leicester, 6 October 2026
Few musicals swing quite so wildly between comedy and darkness as Heathers. It is unquestionably a musical with something on its mind; the challenge is that its messaging often becomes obscured by the sheer energy and momentum of the show itself.
Based on the cult 1988 film, Heathers follows intelligent outsider Veronica Sawyer as she finds herself drawn into the orbit of the three Heathers, the ruthless queens of Westerberg High. When mysterious new student Jason “JD” Dean enters her life, the story takes an increasingly dark turn, exploring bullying, social hierarchy, violence, grief and the consequences of teenage cruelty. With a book, music and lyrics by Kevin Murphy and Laurence O’Keefe, the musical approaches these themes through a highly stylised blend of dark comedy, satire and pop-rock musical theatre.
The show’s enduring popularity is easy to understand. Its score is packed with memorable songs, its humour is often sharply observed and its heightened theatricality allows it to move rapidly between absurd comedy and genuine darkness. Beneath the surface lies a story concerned with belonging, conformity, power and the devastating consequences of treating people as disposable. The musical confronts subjects including misogyny, homophobia, sexual violence, murder, suicide and mental health, all viewed through the lens of teenage experience.
Yet despite the seriousness of much of its subject matter, some of the show’s ambitions feel frustratingly indistinct. Theatre and musical theatre have repeatedly demonstrated that humour can provide an effective framework through which to explore difficult issues, often making challenging conversations more accessible and impactful, and Heathers firmly places itself within that tradition. The difficulty lies in identifying exactly what conclusions it wishes its audience to draw. While this production embraces the show’s anarchic energy with confidence, the sheer pace of events means that several character arcs and dramatic threads are introduced before being left hanging. As a result, moments with the potential for genuine emotional or social resonance are frequently overtaken by the musical’s own momentum.
Relationships and motivations that appear rich with dramatic possibility are often given little opportunity to develop beyond their initial premise. Characters such as Ms Fleming (Veronica Carabai), whose attempts to create a supposedly supportive environment sit in tension with her inability to truly listen to the students around her, hint at interesting contradictions that are never fully examined. Likewise, glimpses of Jason Dean’s (Louis Hearsey) troubled home life and several supporting characters’ personal struggles suggest greater emotional complexity than the script ultimately chooses to pursue. The result is a show that remains entertaining throughout but occasionally appears more interested in its next punchline or musical number than in the consequences of what has just taken place. Many of these reservations, however, lie with the material itself rather than with this particular production.
That observation should not detract from the quality of this touring production. Directed by Andy Fickman, the show is delivered with confidence, precision and a clear understanding of its audience. The almost-capacity crowd responded enthusiastically throughout, frequently applauding songs and embracing the show’s larger-than-life theatricality.
Technically, the production is exceptionally polished. Ben Cracknell’s lighting design proves particularly effective, shifting seamlessly between moments of high-energy comedy and darker dramatic sequences. The modular set is equally successful, transforming quickly and efficiently between locations while maintaining the pace of the storytelling. Combined with the show’s energetic choreography and strong musical direction, the result is a production that rarely loses momentum.
At the centre of the show is Gerardine Sacdalan, who delivers an outstanding performance as Veronica Sawyer. Rarely off stage, she carries the production with assurance, combining strong vocals with emotional credibility and a commanding stage presence. Liberty Stottor is equally impressive as Heather Chandler, bringing formidable vocal power and excellent comic timing to the role, while Lou Henry provides strong support as Heather McNamara.
Sophie Manners gives an affecting performance as Martha Dunnstock, bringing warmth, vulnerability and sincerity to a character who provides much of the show’s emotional grounding, while Markus Sodergren and Beau Jackson prove a highly effective comic partnership as Kurt and Ram, delivering some expertly judged physical comedy while maintaining a strong stage presence throughout.
Louis Hearsey is a particularly accomplished Jason Dean, balancing the character’s charisma and menace with a performance that demonstrates singing and movement skills, alongside notably impressive acting ability.
The ensemble deserves considerable praise. Their collective energy drives the production forward and their commitment never wavers. Given the strength of the company, one is left wishing they had been given even more opportunities to contribute beyond their existing track. Ellouise Delooze is especially notable, displaying exceptional focus and stagecraft throughout, while Veronica Carabai secures plenty of laughs as Ms Fleming, particularly during several moments of audience interaction that were warmly received by the crowd.
The only significant drawback came from the auditorium itself. I was seated at the end of a row, and the entire stage-left playing area was completely obscured, including sections of scenery upon which important action took place. Additionally, some performers were hidden from view by larger pieces of modular scenery during several scenes. In a theatre as adaptable and spacious as Curve, this proved a surprising sightline issue.
Audience behaviour also impacted the experience during the finale. Despite pre-show and interval instructions requesting that photography and filming were not permitted, some audience members recorded both the closing number and curtain call. Given the rake and angle of the seating, raised phones significantly obstructed the view for those of us seated behind them. If filming is permitted at designated moments, clearer communication would be beneficial; if not, more consistent enforcement would help maintain the experience for all audience members.
While Heathers does not always realise the full potential of its subject matter, this touring production remains a slick, energetic and thoroughly professional piece of musical theatre. Strong central performances, impressive technical work and a committed company ensure an entertaining evening and explain why the show continues to attract devoted audiences. Judging by the reaction of the audience, this production delivers exactly what many fans have come to love about the musical.
