Heathers The Musical - Review

Theatre Royal Haymarket, London


***


Book, Music and Lyrics by Kevin Murphy and Laurence O’Keefe 
Directed by Andy Fickman

Carrie Hope Fletcher and Jamie Muscato

Following a sold-out run at The Other Palace earlier this year, there’s been a lot of hype surrounding Heathers the Musical, with a strong fandom out in force and social media buzzing with (mostly) glowing comments. Based on the cult 1988 film written by Daniel Waters and starring Winona Ryder and Christian Slater, Heathers is a dark and entertaining tale of teenage angst, love and quest for popularity and arrives at its new home at the Theatre Royal Haymarket with high expectations all round.

For many teenagers high school is a time of angst and self-doubt and that’s certainly no different for Veronica Sawyer (Carrie Hope Fletcher), a teenage nobody who desperately dreams of ditching the bullies and fitting in at Westerberg High. Thanks to her knack of forging hall passes she’s soon taken in by three of the most popular (and cruellest) girls in school, The Heathers, although she finds out that popularity is not all it’s cracked up to be. She meets new boy in town, Jason ‘J.D.’ Dean, unaware that her relationship with the outcast will have grave consequences for everyone. 

Directed by Andy Fickman, Heathers is a dark musical packed full of humour and memorable numbers, with impressive choreography by Gary Lloyd, a versatile set (designed by David Shields) and enviable costumes to whisk you straight back to the 80s. 

While there is a realism in the show’s portrayal of teenage desperation for popularity, there are moments when it all feels deeply unsettling. The narrative brushes with sensitive topics including teenage suicide, sexual assault and high school killings that sit awkwardly when contrasted with the real-life tragedy of such events.

Fletcher lives up to expectations, delivering a misguided Veronica who is endearing yet flawed. Her performance is strong throughout in both acting and song, especially when she belts out Dead Girl Walking. Equally impressive is Jamie Muscato as the dry-humoured, troubled psychopath J.D, and the pair have great chemistry, as evidenced during their duet Seventeen. They’re both supported by a strong cast including Jodie Steele, T’Shan Williams and Sophie Isaacs as Heathers Chandler, Duke and McNamara respectively. Despite the cruelness of their characters, the trio are given one of the show’s catchiest songs, Candy Store. There is memorable work too from Jenny O’Leary as Martha, Veronica’s kind-hearted childhood best friend, with her sweetly sung number Kindergarten Boyfriend sure to tug at heart strings.

Despite its flaws, this is a technically well delivered show that is likely to be popular amongst die-hard fans and newcomers alike.

Runs until 24th November

Reviewed by Kirsty Herrington

Photo credit: Tristram Kenton

Legally Blonde The Musical - Review

Churchill Theatre, Bromley

****

Music and lyrics by Laurence O'Keefe and Nell Benjamin

Book by Heather Hach

Based on the novel by Amanda Brown and the Metro-Goldwyn-Mayer motion picture

Directed and choreographed by Anthony Williams

Lucie Jones

Oh my god, you guys. So, this blonde sorority girl from Malibu like totally defies the odds and gets into Harvard Law School to win back her ex-boyfriend who dumped her because she wasn't serious enough, and it's, like, totally awesome!

It's a unique start to a law career but, then again, Elle Woods is the epitome of unique.

Legally Blonde The Musical is the stage adaption of the classic 2001 film, which starred Reese Witherspoon, Luke Wilson and Jennifer Coolidge. At its core, it is a tale of aspiration with the message that anything is possible if you only believe in yourself.

It's a shame that Woods' rousing valedictorian speech - which neatly summarises this concept in the movie - is omitted from the stage version, but its absence serves as a reminder that the musical is wildly different from the film. And treating this show as an entity of its own, offers up a slightly different story. The importance of love as a motivator becomes its own thread, the role that physical appearances play in society is amplified – and it's all served up with a huge dollop of joy.

That much is evident from the outset. The gaudy set design (Jon Harris, Jason Bishop and David Shields), beautifully condensed for this touring production, is over-the-top and dazzling, elevating the story further into a fantastical space. The costuming from Elizabeth Dennis is outstanding, channelling 90s American styles. Each number is a fashion show in itself, making the whole gig feel like an extension of London Fashion Week that ended only a few days ago. 

What's more, the cast are clearly having a wonderful time. Lucie Jones is exquisite as Elle, seamlessly blending nods to Witherspoon's portrayal with her own flavour. This Elle comes with a level of self-awareness and sass that makes her truly memorable. And with a voice that is made for the stage, complete with mesmerising blonde hair, Jones truly embodies the character.

Rita Simons as the flamboyant Paulette Bonafonté is another remarkable performance; the hopeless romantic hairdresser with a knockout voice and witty zingers that elicit rapturous laughter.

The musical numbers make for occasional treats; there is a particularly exceptional number starring Brooke Wyndham (Helen Petrova) performing skipping rope-based choreography, followed soon after by a deliciously comic routine in a courtroom. Under James McCullagh’s direction, the orchestra is fantastic and you can’t help but feel as though they are having just as much fun as their colleagues on stage.

There’s no denying that Legally Blonde The Musical is a raucous, silly and above all fun production. And OMG! - anyone who goes to see it over the coming months is in for a brilliantly entertaining evening.

Runs until 23 September, then tours (details here)
Reviewed by Bhakti Gajjar
Photo credit: Robert Workman

Legally Blonde - Review

Upstairs At The Gatehouse, London


****


Music and Lyrics by Laurence O’Keefe and Nell Benjamin
Book by Heather Hach
Directed by John Plews

Abbie Chambers

There's an irrepressible sugary charm that surrounds Legally Blonde. Late into the show's run and on a cold January night too, the Gatehouse Theatre was packed with a grinning audience picking up on the cast's infectious enthusiasm.

Legally Blonde's sexual politics are intriguing. With the exception of Emmett (and possibly Kyle) its underlying premise is that men are duplicitous bums. And whilst (look away - spoiler alert) Elle Woods does of course go on to achieve legal success, she doesn't achieve this recognition through a knowledge of law - but rather by applying her initiative to what are actually stereotypical female reference points: a sensitive "gaydar" and a knowledge of perms. So, does Legally Blonde actually champion female empowerment, or simply reinforce age-old tropes? Discuss.

Either way, Abbie Chambers who makes her professional debut as Elle does a fabulous job in the role. It's a massive part - on stage almost throughout, Chambers never fails to convince as she journeys through heartbreak and endeavour to her ultimate happy ending.

The most sympathetic character on stage is Jodie Jacobs’ hairdresser Paulette, who in a world away from Elle’s pink infused (and albeit superficial) vacuity, is actually grounded in her disappointment. Jacobs keeps Paulette adorably optimistic and able to offer the wisdom of a woman who's seen life for what it really is, in a reprise of the part that she delivered so fabulously at Kilworth House last summer. Jacobs is in a league of her own here, her voice is gorgeously powered, whilst her experience sees her to master Paulette’s wry comedy, perfectly.

Robert Colvin offers a polished and three dimensional take on Warner - who really is a 2-D creation. There is an interesting and timely parallel between the fictional Warner and Grey Gardens' real-life Joseph Kennedy - both characters out to use love to further their own personal career ambitions - discarding relationships as it suits.

Stepping into the role of Brooke Wyndham, Katie Bradley does a fabulous job as the energetic and entertaining fitness guru. And a nod here to Anthony Whiteman's remarkable choreography. Brooke's second half opener Whipped Into Shape is but a blur of skipping rope as her ensemble achieve a wow of a routine in the narrow confines of the Gatehouse's traverse.

John Plews triumphs again. The director is at his best compacting big shows into his beloved venue, assisted here by Matt Abrams and his band who deliver an assured take on the upbeat score, whilst Isobel Power Smith's set also impresses.

The show is only on for another two weeks and this ensemble make it a lovely night out.

Runs until 31st January

Photo credit: Darren Bell

Bat Boy: The Musical - Review

Southwark Playhouse, London

***

Music and lyrics by Laurence O'Keefe

Book by Keythe Farley and Brian Flemming

Directed by Luke Fredericks

Rob Compton

Much like the winged mammal of its title, Laurence O’Keefe’s Bat Boy: The Musical is a rarely spotted show. A shortish run off-Broadway in 2001, followed by a 2005 early closing at London’s Shaftesbury Theatre mark its chequered past. Director Luke Fredericks however, garnered critical acclaim last year with a fringe Carousel at Dalston’s Arcola, so it is an intriguing prospect to see how he fares south of the river and taking on this eclectic look at super-sensationalised vampirism in small-town USA.

In a story intended as a comic-book style allegory, Rob Compton plays the Bat Boy, a speechless creature discovered in a West Virginia cave, who is to upturn the lives of local townsfolk. Compton’s performance is well crafted. From a speechless embodiment of his freakish character in the initial few scenes, he develops his capabilities, going on to stretching his bat wings with ease. From vulnerability through to a sheer unaware stupidity, he performs with a conviction matched only by faultless vocals, notably in Let Me Walk Among You and later with Inside Your Heart, a duet sung with Lauren Ward playing a complex mother figure to him as Meredith Parker.

Ward brings much compassion to her role and together with her daughter Shelley played by Georgina Hagen the two women are often the characters that lift the tale out of a rolling stylised humour and into the raw emotions of its ultimate dilemma. There is a strong mother-daughter chemistry between the pair that cleverly builds towards their respective final revelations. 

The cast are all strong, performing with a tongue in cheek pastiche that makes the full company numbers hilarious, a particular treat being the ever excellent Simon Bailey. His performance as faith healer Reverend Hightower, opening act two with A Joyful Noise, sees Bailey dazzle, not only in his gold shoes and yellow suit but with an infectious zany energy that few can match.

The show however remains a curiosity, with Fredericks treading a careful path that aims for deliberate kitschness while trying to avoid the crass. It’s a tough call that doesn’t always work, with the show’s design by Stewart Charlesworth occasionally seeming tacky. A stuffed toy cow’s head complete with intestines in tow, Barbie doll-like puppets abseiling down the set and an over-sized lethal injection syringe, set a tone that occasionally oversteps the mark.

Nonetheless, Bat Boy: The Musical is another example of the vibrancy of London’s Off-West End theatre scene. Mark Crossland’s well arranged five piece band with Joe McKneely’s imaginative choreography all make for a grand night out and if you enjoy wallowing in that guilty pleasure of kitsch Americana, then its unmissable!

Runs until 31st January 2015