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    ‘Heathers: The Musical’ Returns to New York, Fueled by a Devoted Fandom

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    When the pitch-black comedy “Heathers” came out in 1989, a review in The New York Times said it was “as snappy and assured as it is mean-spirited.” An early scene was said to have “the air of a demonic sitcom.” This may explain why the composer Laurence O’Keefe initially had reservations about working on a musical adaptation.“I thought it was too nihilistic,” O’Keefe said of the movie, in which a frustrated senior (Winona Ryder) and her murderous boyfriend (Christian Slater) dispatch members of their high school’s bullying elite with theatrical violence. “This material is in some ways more despairing than ‘Sweeney Todd.’”Yet O’Keefe still thought there was a way to make the story palatable for the stage. He was right: These days, “Heathers: The Musical,” the adaptation he created with the writer Kevin Murphy and the director Andy Fickman, is gaining cult-classic status in its own right.It took a decade, but in December the Off Broadway production’s cast album, from 2014, went gold. Packed with a mercilessly catchy mix of bangers (“Candy Store”) and ballads (“Seventeen”), the recording was instrumental in fueling a “Heathers” craze in Britain, where the show has had several West End runs and tours, which were further immortalized in a second cast album and a live capture.From left, Winona Ryder, Kim Walker, Lisanne Falk and Shannen Doherty starred in the pitch-black high school comedy “Heathers.”Moviestore Collection Ltd/Alamy Stock PhotoNow “Heathers: The Musical” has returned to New World Stages, where it had its original New York engagement back in 2014. This version incorporates changes, including new songs, made to the show in the intervening decade. It will open on July 10 with a sterling cast list led by Lorna Courtney (“& Juliet”) as the arty senior Veronica; Casey Likes (last seen on Broadway in “Back to the Future: The Musical”) as the vengeful J.D.; and McKenzie Kurtz, Elizabeth Teeter and Olivia Hardy as the school’s queen bees, all named Heather.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      For Lorna Courtney of ‘& Juliet,’ New York Has Always Been Her Stage

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      To pursue her dreams of stardom, Lorna Courtney didn’t have to move far away from home. But she did have a lengthy daily commute. In her teens, she would take a bus and two trains (or three, “depending on how long I wanted to walk”) from her home in South Ozone Park, Queens, to the prestigious LaGuardia High School of Music & Art and Performing Arts on the Upper West Side in Manhattan.“That’s not even bad, because there were people that commuted from Staten Island,” said Courtney, the young, Tony Award-nominated star of the new Broadway musical “& Juliet.”The real distances, however, were not measured in miles. At LaGuardia, Courtney was thrown into a new world. “I realized that I was with people who had free lunch and people whose parents had yachts,” she said recently at a cafe near Union Square.She made the most of her years studying voice at LaGuardia, performing in student productions and taking on the roles of Nina in “In the Heights” and Belle in “Beauty and the Beast” (in which her fellow Tony nominee Micaela Diamond played Mrs. Potts.)Fast-forward eight years, and Courtney, 24, is portraying another strong-willed ingénue, Juliet, on Broadway. That would be Shakespeare’s Juliet, except in this musical flight of fancy, the protagonist is not a 14-year-old killing herself for love but a young woman eager to experience the world and figure out who she is. Oh, and this Juliet is belting hits written by the pop mastermind Max Martin, including “Stronger,” “Since U Been Gone” and “Roar.”Courtney in the musical “& Juliet,” a girl-power romp featuring songs by the pop hitmaker Max Martin, at the Stephen Sondheim Theater in Manhattan.Sara Krulwich/The New York TimesIt’s a “blow-you-away performance,” as the New York Times critic Jesse Green put it in his review. Courtney said that she was shocked to hear her name listed among the other Tony nominees for leading actress in a musical, and “got to eat cake as a celebration at 9 o’clock in the morning.”Courtney was born in New Jersey in 1998, the same year Britney Spears’s “… Baby One More Time,” the first song she performs in the show, was released. She grew up in an ethnically and religiously mixed family; a DNA test informed her that the highest percentage in her ancestry “was 18 percent for Nigeria, followed by Ireland, Jewish-Eastern Europe, and then it was Mali, and I also have Mexican mixed in there, too,” she said.Little predestined her to show business. Her parents were not particularly interested in music, though when her mother saw a segment on “60 Minutes” about Vy Higgensen’s Gospel for Teens program, she encouraged her daughter to join. At 15, Courtney was performing in Higgensen’s long-running musical, “Mama, I Want to Sing!” with the choir in Japan.“It was then that I decided that I could see myself doing musical theater instead of opera, which I studied in high school,” Courtney said. She was off to the races, and proved to be not just gifted, but also enterprising.“All throughout my life, if I had an idea and I felt strongly about it, I was always working to get to that goal,” she said. “I didn’t have many resources easily available and easily accessible but I would use what I had.”While many of her peers at the University of Michigan enjoyed spring break during what she called her “junior-slash-senior year” (she graduated early), Courtney traveled to New York for non-Equity auditions. Waiting to meet with a regional theater for a summer-stock gig, she spotted a call for a “Dreamgirls” revival and managed to pass along her headshot and résumé, even though she didn’t have an agent. She earned a callback, but was not cast. (The production ultimately did not happen, either.)Around graduation, Courtney was back in New York, auditioning for “Dear Evan Hansen” and the Ivo van Hove revival of “West Side Story.” She landed both, starting as a standby in “Hansen” before moving on to “West Side Story” as a member of the ensemble and the understudy for Maria.This was a bracing time for Courtney, who said she relished working with van Hove and the avant-garde choreographer Anne Teresa De Keersmaeker on their boldly staged revival, even when they tested her comfort zone. “That particular process was challenging only because in the ensemble, dancing isn’t my forte,” Courtney said. “Particularly, Anne Teresa’s style is very specific, and I had no idea how to move in that way.”The pandemic shutdown — a time when Courtney, like most actors, felt in limbo — put a definitive end to that experience: “West Side Story” was not among the Broadway shows to reopen. Once things crawled back to life, she sent what she estimated to be around a hundred video auditions. (And she landed a part on the pilot of the Queen Latifah series “The Equalizer.”)Then “& Juliet” materialized.The show had premiered in Britain in 2019 to lukewarm reviews, but received nine Olivier Award nominations the following year. By the time the director, Luke Sheppard, conducted auditions for a pre-Broadway run in Toronto, he was very familiar with the role of Juliet. And yet Courtney took him by surprise.“She was able to find a version that was distinctly her version,” he said in a video interview. “It was joyful and eccentric, wonderfully naïve but also incredibly intelligent — this special intelligence that just saw the best in the world around her.”“I’ll just never forget hearing her unbelievably beautiful, powerful pipes,” said the actress Betsy Wolfe, whose callback appointment for “& Juliet” was right after Courtney’s. “Meeting her a couple of minutes later, I thought, ‘Well, this is their Juliet.’”OK McCausland for The New York TimesIt didn’t hurt that she could sing, too.Betsy Wolfe, who plays Anne Hathaway in the show (and who is also nominated for a Tony), remembers that she and Courtney had back-to-back appointments for their callbacks. “Before I even saw Lorna or heard her speak, I heard her sing through a thick wall in a studio rehearsal room,” Wolfe said in a phone interview. “I’ll just never forget hearing her unbelievably beautiful, powerful pipes. Meeting her a couple of minutes later, I thought, ‘Well, this is their Juliet.’ It’s very, very hard for me to even separate the two of them at this point.”Courtney received the good news in December 2021. At the time, she was working behind the desk at an Equinox in Hudson Yards. “I get a call from my agent and manager and they say, ‘You got the role of Juliet,’” she recalled. “Because so many people that work there were also actors, singers and dancers, they were all so excited for me and we were jumping up and down, screaming.”Between the runs in Toronto and on Broadway, Courtney has spent about a year with the musical. She said it’s helping her “grow as a person,” and she values its message. “It’s about staying true to yourself, and finding your own voice, and not being afraid to speak out,” she said. “It’s also about love — multigenerational love, love of friends, love of people who may not be your biological family, and relationships.”And though her family has been an invaluable “support system,” she is at last ready to move into her own place after staying with relatives in either in South Ozone Park or in Stuyvesant Town in Manhattan.In mid-May, her application for an apartment had been approved and she was anticipating the move — because it was in Harlem, a neighborhood she was familiar with from her days in the gospel choir, but also because this savvy New Yorker knew her commute to the theater district in Times Square would be a cinch.“The 2 and 3 is one block away, and then the B and C is another,” Courtney said with obvious relish. “It’s a straight shot.” More

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      in Theater

      Review: On Broadway, ‘& Juliet’ (& Britney & Katy & Pink)

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      Shakespeare’s tragedy becomes a girl-power romp in a cotton candy jukebox musical, featuring songs by the Swedish hitmaker Max Martin.They don’t even bother to hide the jukebox. It’s right there, out in the open, before the show starts: a chrome Cyclops glowering at you from the stage of the Stephen Sondheim Theater, of all places.Are you daring me, “& Juliet”?I have done everything a critic can do to stamp out the jukebox musical. I’ve called it a cockroach, a straitjacket, a leech, a dead fish. I’ve argued that, with few exceptions, it’s a form that’s satisfactory neither as music nor as theater, let alone the combination. I’ve stood proudly, even among my colleagues, as a denier of everything that shows like “& Juliet” typically stand for.So shoot me: I liked it. It felt so wrong; it felt so right.This even though “& Juliet,” which opened Thursday on Broadway after establishing itself as a hit in London, trails the faint odor of carpetbagging and brand extension that makes other examples of the genre — “Motown: The Musical,” “Tina: The Tina Turner Musical” and the inexcusable “Escape to Margaritaville” — so dispiriting. The show’s entire reason for being, after all, is to exploit the back catalog of Max Martin, the Swedish hitmaker behind Katy Perry’s “I Kissed a Girl” and 24 other No. 1 singles on the Billboard Hot 100 since 1998.That the songs are good to begin with — chunky, hooky, belty, dancy — is neither here nor there; they generally are, in shows like this, or there would be no audience to pander to. Also par for the course is the way “& Juliet” wedges them into unlikely contexts, aiming for laughs that are little more than Pavlovian reactions to anticipated familiarity.What saves “& Juliet” from being a lowest-common-denominator corporate byproduct is something else, something I never expected: wit.The wit operates on many levels in the director Luke Sheppard’s super-poppy production, including hilarious hybrid Elizabethan costumes (by Paloma Young) that feature a codpiece the size of a snapping turtle, cotton-candy lighting (by Howard Hudson) and playful sets (by Soutra Gilmour) situating the story in a century somehow combining the 16th and ours.Stark Sands, left, as Shakespeare and Betsy Wolfe as Anne Hathaway in the musical. The couple’s marital issues play out alongside Juliet’s new story.Sara Krulwich/The New York TimesBut that’s just the surface; more important are some fundamental choices about what a jukebox can and should be. For one thing, “& Juliet” is not — like “Jersey Boys” and “The Cher Show” — a biomusical, chronicling artists’ ups and downs no matter how jimmied or flat-out falsified. Martin having no taste for the spotlight, it instead opts for an original story, if you can consider a reboot of “Romeo and Juliet” original. Making that story a fable — not unlike “Head Over Heels,” the Go-Go’s romp from 2018 — smartly relieves it of the pressure of reality.But the book, by David West Read, aims higher than that. Because so many of Martin’s biggest songs featured singers like Perry, Britney Spears, Pink and Ariana Grande — Taylor Swift’s are mysteriously absent from the show — the choice to focus on a young woman made sense. Yet Juliet, as Shakespeare wrote her, comes with some baggage, including the fact that by the sixth line of the prologue she’s dead.Undoing that fate became the musical’s animating principle and spine. In Read’s telling, Juliet (Lorna Courtney in a blow-you-away performance) doesn’t die but rather wakes up confused and a little emo following Romeo’s suicide. Cue “…Baby One More Time,” which she performs, still in her funeral dress but also sporting headphones and a Walkman, in front of her lover’s sarcophagus.That’s as grim as “& Juliet” gets — not very — because, as the erasure of Romeo from its title suggests, this girl is getting a glow-up. Here the show moves into meta territory, introducing Shakespeare’s wife, Anne Hathaway, as the force behind the revision. “I mean, what do I know,” Anne (Betsy Wolfe) slyly tells cocky Will (Stark Sands). “Maybe she doesn’t kill herself just because he killed himself?”When Will insists (to knowing chuckles) that he writes his plays completely by himself, Anne simply grabs the quill until he agrees to share authorship. To raise the meta ante, they also write themselves into the tale. “& Juliet” then proceeds to process the Shakespeares’s marital issues through Juliet’s new story, toggling between Anne’s feminist uplift and Will’s squirrelly, writerly (and perhaps patriarchal) need to complicate it.So when the scene shifts to Paris, where Anne provides Juliet with a new boy to enjoy, that boy — François du Bois (Philippe Arroyo) — turns out to have eyes for someone else, whom Will has contrived to throw in his path. The plot now twists its way through several typical Shakespearean tropes, including comic mismatches, reunited lovers (Paulo Szot and Melanie La Barrie) and the return of yet another character (I won’t spoil who, but you can probably guess) from the grave.Philippe Arroyo, left, as François and Justin David Sullivan as May in the musical.Sara Krulwich/The New York TimesThe songs that illustrate these developments — “Oops! … I Did It Again” when Juliet agrees to marry François, “Blow” for a big Paris ball — are mostly apt enough, though with nearly 30 of them squeezed into the show’s 150 minutes they eventually dig an aural rut. (The sound design by Gareth Owen doesn’t help, with its arena-style reverb in a relatively small theater.) And some have the tang of reverse engineering, as when Juliet’s nonbinary best friend, May, is given Spears’s “I’m Not a Girl, Not Yet a Woman.”Nevertheless, May (Justin David Sullivan) is a typically clever modern gloss on Shakespeare — a playwright, as Anne points out, who is “basically synonymous with gender-bending.” And if three of the couples, liberated by Juliet’s liberation, achieve surprisingly normative happy endings, the girl herself ends the show uncommitted, still trying to “own her choices,” apparently by not making any.Most of the comedy derives from similar tensions; though “& Juliet” is jokey, and its authorship is entirely male, its feminist critique is real enough, winking alternately at Shakespeare’s assumptions and ours. At one point, Anne summarily up-ages Juliet by about a decade because she’s “not going clubbing with a 13-year-old” — nor (it goes unsaid) letting a 13-year-old marry.Indeed, it’s Anne who provides most of the wit, not just verbal but philosophical. And it’s Wolfe’s performance — capped with a roof-raising rendition of the Celine Dion hit “That’s the Way It Is” — that gives the show its heart, an organ too often unheard from in musicals entirely focused on the ear.I could have used a bit more brain, though; “& Juliet” sometimes seems suspicious of its own intelligence, like a nerd invited to the cool kids’ party, only to get drunk and vomit in the pool.The overcompensation — two confetti explosions? — is unnecessary. Jukebox musicals may still be bottom feeders, but, as “& Juliet” proves, there are sometimes small treasures to be found in the murk. And as long as they’re going to keep arriving regardless, I have to admit (citing Martin’s hit for those theater critics the Backstreet Boys) I want it that way.& JulietAt the Stephen Sondheim Theater, Manhattan; andjulietbroadway.com. Running time: 2 hours 30 minutes. More