Big Performances are Big Fun in QMT’s ‘Heathers: The Musical’
Content Warning: ‘Heathers: The Musical’ contains depictions of teen suicide, suicidal ideation, bullying, and sexual assault. While these topics are not discussed in this review, they are present in the production and may be distressing for some audience members.
If you or someone you know is struggling, support is available. Call or text 988 for Talk Suicide Canada (24/7), or contact Kids Help Phone at 1-800-668-6868 or text CONNECT to 686868. In Kingston, you can reach out to Sexual Assault Centre Kingston at 613-544-6424 or Resolve Counselling Services at 613-549-7850. You are not alone.
Queen’s Musical Theatre (QMT)’s Heathers: The Musical has all the makings of a killer production: biting wit, belty numbers, and a cast that brings the house down, but the Baby Grand just can’t contain this much teen angst.
Based on the 1989 cult classic, Heathers: The Musical is a dark, stylized show filled with satire that shifts dramatically between hilarious, heartfelt, and horrifying. The story follows Veronica Sawyer, a smart, sardonic teen who finds herself climbing the social ladder by befriending the ruthless Heathers, only to be pulled into a deadly spiral when she falls for brooding new kid, JD. Under Sarena Abramson’s direction, the cast nails these turns, delivering Broadway-level energy in a space that tries to dispel that at every high-kick and turn.
I was fortunate to see understudy KJ McSpurren as Veronica, who absolutely slays (literally). McSpurren has a powerhouse voice, fantastic instincts, and total control of her role. She handles the absurdity with sincerity, captures Veronica’s deadpan sass with razor-sharp timing, and holds her own in the show’s high-octane choreography. She’s well-matched by Cauè Garcia’s JD, whose unique interpretation is quiet, understated, and nuanced. Garcia’s JD feels insidiously fragile, a ticking time bomb with puppy dog eyes. It’s a refreshing, deeply grounded perspective, and when the darkness finally erupts, it’s chilling.
Kate Megginson is perfectly cast as Heather Chandler, anchoring the villainess’ humanity with equal parts Regina George and actual demon. Nicole Martin’s Heather McNamara is beautifully layered, her rendition of “Lifeboat” is a rare musical moment that genuinely hurts and induces full-body chills. Karen Lear, as Heather Duke, nails the conniving sidekick and an unscripted moment fixing Chandler’s fallen iconic red bow during “Candy Store” became a strong display of her character work.
Among the supporting cast, Sarah Doyle’s Martha is an absolute heart-stealer. Doyle’s rich vocals and emotional honesty in “Kindergarten Boyfriend” make it a highlight of the show. Grace Holmes brings much-needed comic relief as Ms. Fleming, and her ‘Steve’ monologue is comedy gold. A surprise standout is Hayley Watson, who turns background character ‘Beleaguered Geek’ into the funniest person in any given scene.
But for all the talent on display, the production’s biggest obstacle is the venue. The Baby Grand’s cramped staging brings the action way too close, turning what should be big, bold numbers into uncomfortably intimate ones. Michael Capon’s live band, set at the back of the stage, is powerful, but often overpowering. Without microphones, the actors are constantly in a losing battle to be heard, which is a shame, because vocally, this cast is very strong. They often strain as they try to push past the music and several key notes crack and sour under the pressure. The lighting, by Elsa McKnight, is well designed but often falls victim to the same spatial issues, with actors stepping out of their light mid-number and landing in the dark. Still, to give credit where it’s due: Abramson’s direction is tight and clear, with smart blocking that makes the most of a tough setup.
Ultimately, QMT accomplishes something remarkable within the confines of what they were given… and what they were given was an ill-suited venue far too small for a production of this scale. These limitations stem largely from Queen’s University’s baffling decision to cancel QMT’s rental contract with the DAN School, thereby barring them from accessing on-campus performance spaces; a decision that made it significantly harder for these artists to showcase their work at its full potential.
The shortcomings of Heathers: The Musical are not artistic, but institutional. Every logistical challenge faced by this production points to a lack of support from the very university meant to champion its students. Queen’s University needs to do better by its students. That the show still manages to shine at all is a testament to the talent, vision, and perseverance of its cast and creative team. With proper infrastructure and investment, Heathers could have been a landmark production, not just for QMT, but for Queen’s as a whole.
And yet, despite it all, Heathers: The Musical is a triumph. Fueled by sheer determination, passion, and skill, this production turns adversity into art. It is fierce, funny, and deeply affecting, a powerful demonstration of what theatre can accomplish when driven by people who refuse to settle for less.
Queen’s Musical Theatre’s production of ‘Heathers: The Musical’ runs until Thursday, April 17, 2025. Tickets and more information can be found here.
