This is an original and powerful production that blends history and realism with the fantastic and the romantic. Musically it is satisfying and uplifting. Dramatically, it grows from an uncertain opening to a lively and passionate second act.
If you think you are ready to enter the huffy, self-absorbed, playfully morose and simply idiotic world of simpleton-sibling rock, then enter the world of Berlin’s Otto and Astrid Rot.
Blessed with good humour, a magnificent score, and a leading lady to write home to mother about, the production never really displeases – even when it’s difficult to hear – and is, more often than not, almost helplessly endearing.
Attempting to solve the world's dilemmas in 60 minutes was always going to be a challenge, so McClelland goes straight for the big guns: racism, politics, drugs, religion.
While this reworked classic isn't pretending to be something it's not, it's hard not to come to it expecting the precision and technical finesse for which the traditional version is so renowned.
It’s been almost 15 years since The Book of Mormon premiered on Broadway and even longer since Joseph Smith ‘discovered’ the golden plates that provided the inspiration for the show.
However earnest and inarguably lovely it is to look at, the pedestrian sexual indulgence and relationship traumas of New York 'A' gays penned 9 years ago doesn't feel particularly urgent.
Capturing the essence of its predecessor, Heathers The Musical is an absurdly comic production that doesn’t just walk the line of polite society but plans to blow it all up with reckless abandon.