From the moment the house lights dimmed, Heathers The Musical detonated onto the stage with the kind of electric confidence that makes you feel you’re seeing something a little dangerous, a little rebellious, and utterly irresistible.
Based on the cult late-80s film starring Winona Ryder, Christian Slater, and Shannen Doherty, and following record-breaking seasons in London and New York, this dark musical comedy has opened to an electrifying response at Arts Centre Melbourne.
This production doesn’t just revive the cult classic; it supercharges it. The world of Westerberg High is rendered in bold, vivid strokes; equal parts glossy teen dream and lurking nightmare – where status is currency and survival is never guaranteed.
The tone walks a razor-sharp line between savage satire and genuine emotional punch, and under Andy Fickman’s slick direction, it never misses a beat.
At the centre is Emma Caporaso’s Veronica Sawyer, a breakout performance that feels both fresh and fully formed. She captures Veronica’s wit, vulnerability, and moral tug-of-war with striking authenticity, her vocals soaring with clarity and control. Opposite her, Conor Beaumont’s J.D. is all smouldering intensity, dangerously charismatic, unpredictable, and compelling in every moment he occupies.
The Heathers themselves are a perfectly calibrated trio of power and poison. Calista Nelmes commands the stage as Heather Chandler with icy precision, while Amélia Rojas and Abigail Sharp bring nuance and bite to Heather Duke and Heather McNamara, ensuring the clique is as layered as it is lethal. Together, they dominate Candy Store with a thrilling ferocity that sets the tone for the chaos to come.
The supporting cast is equally strong, with Mel O’Brien delivering both humour and heart as Martha Dunnstock, and David Cuny and Nic Van Lits injecting swagger and comic timing as Ram and Kurt. Ellis Dolan and Brodie Masini absolutely steal the opening of Act Two with a riotous My Dead Gay Son, bringing down the house in one of the night’s most uproarious highlights.
Zoe Gertz deftly balances the dual roles of Guidance Counsellor Ms Fleming and Veronica’s Mum, while the ensemble as a whole pulses with energy, fully committing to Gary Lloyd’s sharp, high-impact choreography.
Musically, the show is a juggernaut. Under Martine Wengrow’s direction, the band drives Kevin Murphy and Laurence O’Keefe’s score with exhilarating force. From the explosive attitude of Candy Store to the raw intensity of Dead Girl Walking and the aching sincerity of Seventeen and Kindergarten Boyfriend, each number lands with emotional gut-punches wrapped in addictive hooks.
Visually, the production is slick and immersive. David Shields’ design instantly transports us into the halls of Westerberg High, while Ben Cracknell’s lighting adds atmosphere, heightening both the comedy and the darker undertones. Every element works in sync to create a world that feels heightened yet unsettlingly familiar.
What elevates this production is its connection with its audience. Opening night was met with an overly exuberant response – a sign that this Heathers has struck a chord. It’s bold, it’s brash, and it’s bursting with talent.
Heathers the Musical
Playhouse – Arts Centre Melbourne, 100 St Kilda Road, Melbourne
Performance: Friday 10 April 2026
Season continues to 9 May 2026
Bookings: www.artscentremelbourne.com.au
Following the Melbourne season, Heathers the Musical will play Adelaide’s Her Majesty’s Theatre from 16 July, HOTA – Gold Coast from 30 July, Canberra Theatre Centre from 14 August, Western Sydney’s Coliseum Theatre from 26 August, Sydney’s Roslyn Packer Theatre from 1 September, and Perth’s Regal Theatre from 30 September 2026. For more information, visit: www.heathersthemusical.com for details.
Images: Emma Caporaso, Amélia Rojas, Calista Nelmes and Abigail Sharp – photo by Cameron Grant, Parenthesy | Emma Caporaso and Conor Beaumont – photo by Cameron Grant, Parenthesy | Mel O’Brien and Emma Caporaso – photo by Cameron Grant, Parenthesy | The Company of Heathers The Musical – photo by Cameron Grant, Parenthesy
Review: Rohan Shearn