Heathers The Musical. New World Stages, Off Broadway August 1 2014
Draft version I am still writing this Aug 4th 2014
Principals:
Veronica: Charissa HogelandThat may seem a big statement to make but I could barely fault this show. What struck me was that it spoke to many generations but most importantly to young people, especially young teenagers. To watch these teenagers understand the depth of the messages makes me proud to see that this adaptation of the film to a musical speaks volumes about humanity.
I think "Heathers the Musical" has legs. Well spider legs. Eight legs or even octopus tentacles with its potential impact on young people. Its messages ring loud and clear through the violence and schlock stylised drama.
I remember clearly the impact that "The Rocky Horror Show" had on me when I was a teenager. I have the same feeling for "Heathers" as it reaches a similar demographic but more. It is like "Grease" blended with "The Rocky Horror Show" to reach both audiences, though "Heathers The Musical" has a much more resounding impact on humanity.
I have never seen the film and bought it as it reminds me of "Once" which translates and becomes even a better musical than a movie. So I am eager to see how the film compares to "Heathers The Musical" written by Daniel Waters. The musical has a book, music and lyrics by Kevin Murphy and Laurence O'Keefe is superbly coherent and does not have holes like some bigger known musicals. They create a driving force to move the story forward and allow dynamic shifts in character development and also balance the comedy with the dramatic and serious messages of this musical.
"Heathers The Musical" appears on the surface to be a teenage angst musical, as it is set when the teenagers are pubescent and around 17 years of age. Obvious rivalries and hierarchies are evident in schools. Is this any different to the outside world. The three Heathers remind me of the perceived bullying of the large corporations, banks and lobby groups. They too can be intolerant. I am intolerant of intolerance!
"Heathers The Musical" has larger than life characters that we can still relate to. There are so many archetypes. We have the college thugs and the dorky nerds and the fat supposedly ugly girl and the "Gorgeous at all times" girls!
Direction is by Andy Fickman and is sublime. I enjoy theatre as I can look where I want rather than what the director wants me to see with a film. Andy Fickman delivers in ensuring our focus is zoomed to the important moments. I watch those moments but also make sure I see what is happening in the complete opposite direction. This was pure bliss to see the direction and detail of the ensemble created real "Michael Chekhov" atmospheres in 95% of scenes when ALL actors were focused. The atmospheres, on a couple of occasions, were lost when an actor lost concentration and allowed their attention to shift off stage or into the audience.
Andy's direction was so detailed and touched the emotional heart and pulled us emotionally on a roller coaster journey with Veronica Sawyer played by Charissa Hogeland and the three Heathers. The focus of the ensemble with their characterisations was near faultless. On three occasions I saw a cast member slip out of character to check out the audience of whisper to someone off stage in the upstage right hand corner! ( I shall be nameless!) One male actor regained focus when he caught my eye. Creating an atmosphere requires the entire ensemble, you are not just extras in the background. We as an audience can sense the connection to the other actors.
Choreography by Marguerite Derricks is effective and so appropriate for this show without being too refined. I loved the "Queen" "Bohemian Rhapsody" moment in Act Two, where the ensemble created a triangle behind the main singer during the song. Their head movements were also reminiscent of ABBA's "Mama Mia" song. Marguerite uses clever, inventive choreography constructed with sheer simplicity to emphasise the drama and comedy. I was laughing so much at times that I want to see it again to remember the exact song and savour some moments again.
The entrance of the three Heathers Heather Chandler: Jessica Keenan Wynn, black Heather Duke: Kristolyn Lloyd and petite Heather McNamara: Elle McNamara was stylish, elegant and evil. The three Heathers are led with such assurance and confidence by Jessica Keenan Wynn. She is superb in maintaining her demeanour even during her ghostly scenes.
Fight direction by Rick Sordlet and Christian Kelly-Sordelet is also sublime, especially the slow motion fight sequence in "Fight For Me". Slow motion seems to be such a cliche but here they take it up a few notches with such controlled slow motion facial expressions that co-ordinate with the moves. Not only funny at times but so clever and I am in awe at the skill of the actors to be true to the emotional context of the angry fight.
The two college hunk, thugs, bullies Kurt (Daniel Domenech) and Ram (Jon Eidson) were a great team. One the dumb supposedly handsome dude and the other the curly haired sycophant. I loved their easy pace, energy and their levels of radiation.
The ensemble all held freezes for an extended time and some actors were in very difficult positions. (Martha Graham would have been proud at the off centre balances!) Some of the classic positions was The occluded jaw of the Heather Duke played by Kristolyn Lloyd was held with such unwavering intensity and honoured the shock of the situation.
There is a moment when a few of us clapped in the audience and it is where Veronica stands up to the others. She consequently isolates herself. Veronica shows strength, courage and leadership. This to me is the essence of the message - to stand up for what you believe in. ( I hope the young lady behind me got the message of this show. She was so rude when I asked her politely to turn off her cell phone)
The music is superb. When I received my "Heathers The Musical" CD in the mail about early July 2014 I played it three times straight away without a break. I was instantly hooked and my partner advises me if he likes tthe opening song or not. We just had to see it and thankfully our timing work out so.
"Heathers The Musical" speaks volumes to many generations: those going through these teenage years and those who either have fond memories or wish to forget those times. For those who want to forget these years it bring s out more humanity as it speaks to us as well. If you are fat, or not tanned, or not muscular, or geeky, or homosexual or questioning your self etc. This musical score and lyrics touches the soul and hearts of all of us and gets us to reflect upon our impact on the world.
This musical is about diversity and stuff these selfish "Selfie" moments'. This musical is about humanity and what we can all do to make a difference. It is the "WEESIE" musical. (Think a selfie with more than one person!) We were there when this musical made a difference and affected so many young people. I met three young teenagers who have seen this show between three and five times!
Producers take note that this musical requires an intimate theatre to enhance that connection to physically reach out to audiences. This show needs to be picked up by so many cities and tour with a few companies to get the message out their quickly. Forget doing just one big version on Broadway. Spread the love! Make a difference. Think "Jumpstart the World" by Catherine Ryan Hyde.
The souvenir/concessions stand could do with displaying the price list.
The Cloak Room could do what "The Lyric Theatre" in Sydney does is write customer's name and phone number on their cloak receipt in the case of forgotten items going to the Lost and Found department. New World Theatres could lead the way in this regard and take the holistic theatre experience to a higher lever.
Singing was superb with only a few bung notes during the whole night. So impressed at the quality and texture of the voices and also the harmonies.
Simple and effective staging and superb lighting that resonated the various atmospheres of various locations. The building of the lights for each scene changed with the warmth of the colours and the areas lit created defined spaces. This lighting plot by Jason Lyons is one of the most visually emotionally attached to a production I have seen in years. Jason creates moods and defines our attention to the requisite area for our complete focus.
I watched the various lighting changes and there was a lot of thought to create moods and context for each scence. Sheer brilliance.
I loved the very stark and simple set. It reminded me of Sydney Theatre Company's version of "Falsettos" directed by Wayne Harrison.
The ensemble roles for the Principal/Ram's Dad/Big Bud Dean were played with differentiating skill by Daniel Cooney. The Coach/Kurt's Dad/Veronica's Dad: Dustin Sullivan. I watched you both to determine identify how each of your character's centres would change.
Dave Thomas Brown looks like Johnny Depp and his handsome features melted many young ladies heart. He played his role with so many levels and textures that enveloped his character. I am in awe at his emotional connection that radiated like a beacon.
His characterisation was truthful and honest with human frailties. I was watching his performance until I was immersed by his character. I could not see him acting. He was this person. He radiated with such energy and composure. He allowed us into his world by this fine actor's qualities and imagination to transport us. I am in awe at his skill.
My heighest emotional response is like deja-vu or astral-travelling and few shows have taken me there. But some have and that is my greatest acknowledgement. Sometimes a performer can take me to this space, or their reality due to their performance but this accolade is rarely given by me.
In this case it was the connection between Dave Thomas Brown and Charissa Hogeland that created goosebumps but had me flying in my emotional element. I emphasise I do not see this incredible connection often and it was pure bliss.
The car / gang rape scene was written with such biting disposable accuracy. Poignant and sadness underlay the humour.
The sword fighting sequence was choreographed so well and honoured Errol Flynn and other pirate movies mixed with the "Tea bagging incident" from "Big Brother" Australia. The audience werein stitches and the choreography then educated the audience by demonstrating a "spit roast" for those audience members who did not understand this new version of sword fighting.
The theatre is a perfect size as this show suits a more intimate venue for immediate connection to the audience. It is perfect vehicle for The Comedy Theatre in Melbourne!
"Shine a light" used the torches effectively. The teacher, Ms Fleming played by Molly Hager with the right amount of spiritual care. She also played Veronica's mother and clearly differentiated the two characters.
When Ms Fleming shone the light on the front row victim who was rejected. It was a great 15 seconds of fame and a great example of a Dame Edna moment of embarrassment. I think it also sent up reality tv shows like "Big Brother" because of the instant connection with the audience. You do not necessarily get that sort of cringe factor by watching tv. Most people in the audience would be relieved it was not them in this moment.
Martha played by Katie Ladner sang the "Kindergarten Boyfriend" with honesty and sincerity. She touched our hearts and allowed us to remember our first childhood love. She also allowed the larger young lady to have self respect and I spoke to a other audience members and was heartened at the positive impact of Martha's character and song. She showed us what beauty is. Not in a cliched manner but with truth.
The finale "Seventeen" is such a poignant song so rich in truth and maturity. I think we will all remember what it was like to be 17. Charissa sang this with such pure honesty that it reached out and cut into my heart that tears rolled down my face. Let us enjoy the moment together! Let us be! It was like a meditation.
"Heathers The Musical" is a musical about hope, love, acceptance, diversity, respect, bullying and suicide. I have never seen a musical that speaks loudly to not only young people but all of humanity with such dignity and honour. It is not patronising. It is a must see and sadly I do not have time to see it again.
Producers around the world should snap up this production and tour it simultaneously to spread the magical world.
I also cannot wait to see it again. As well as the filmed version of this show. It has an instant audience and I can see young girls and drag queens dressing like the three Heathers to attend screenings. Is is sheer brilliance.
Principal:
Veronica: Charissa HogelandMs Fleming/Veronica's Mom: Molly Hager
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