Be More Chill - 9 out of 10 stars
Hills Musical Company
Tickets Here: Be More Chill Tickets
Hills Musical Company has produced another high-quality
show—this time tackling the cult hit Be More Chill, a sci-fi musical with music
and lyrics by Joe Iconis and a book by Joe Tracz, based on Ned Vizzini’s 2004
novel. Under the direction of Ben Stefanoff, with Kristin Stefanoff as Musical
Director and Emily-Jo Davidson as Choreographer (you might recall this
dynamic trio from HMC’s 2024 Jekyll & Hyde), Be More Chill is
satirical, slick, and deliciously punchy.
The story follows Jeremy Heere, a loser high school student
who turns to a mysterious pill called a “SQUIP”: a nano-computer implanted in
his brain to make him popular. In true Little Shop of Horrors fashion, chaos
soon escalates to potential world domination, leaving Jeremy as humanity’s
unlikely saviour.
Be More Chill bursts with energy. The score, heavily influenced by late-90s and early-2000s pop and rock, features energetic, high-decibel numbers that strike the right chord with younger audiences and is delivered with drive and precision by a six-piece orchestra led by Stefanoff on keys. Davidson’s choreography is consistently tight and perfectly polished, particularly in the larger ensemble numbers that spill over with movement and detail, leaving the audience happily overstimulated.
Thomas Sheldon’s Jeremy is a relatable everyman who grows
from outcast to accidental hero with believable emotional depth. His chemistry
with Maximillian Maher’s SQUIP is spot-on, especially during the mind-control
sequences. Sheldon’s command of the arc—awkwardness, rejection,
self-realisation, and redemption—is balanced and endearing.
Mia Ferraretto radiates charisma as Christine Canigula, channelling unfiltered enthusiasm that lights up the stage. She is a burst of energy, giving her performance consistent spontaneity, most memorably in “I Love Play Rehearsal,” setting a joyful tone that swings from strength to strength throughout the show. Her styling evokes a young Alyson Stoner, and her costuming, especially her opening look, deserves mention for its whimsical flair and reprise in Act Two.
Light on his feet with some of the best moves in this
production, Sebastian Mendoza Gianotti shines as Michael Mell. His entrance
during “More Than Survive” had the audience instantly falling in love with his
character. Living up to the reputation of one of the show’s standout dramatic
moments, Gianotti doesn’t disappoint in “Michael in the Bathroom,” leaving all
his emotion on the bathroom floor.
The standout of this production is Maximillian Maher as The
SQUIP. His performance drips with villainous supremacy and calculated
charisma—an unnervingly slick villain cloaked in charm. Maher masterfully
layers subtext, crafting a character both menacing and strangely sympathetic.
His comedic moment in the Act Two opener, complete with a bilingual twist,
shows unexpected versatility and impeccable timing.
Chloe Anderson, Ava-Rose Askew, and Molly Noel form the high
school mean-girl trio—Brooke, Chloe, and Jenna. The three deliver sharp,
personality-driven performances with a distinctly Scream Queens-meets-Mean
Girls vibe. Each brings depth beyond stereotype: Brooke’s need to be seen,
Chloe’s desire not to be feared, and Jenna’s longing to be heard. It’s
particularly impressive that this is Noel’s musical theatre debut—her
confidence and presence in “The Smartphone Hour” suggest otherwise. Her skill
and ability are on par with her peers.
Lucas Tennant portrays Jake Dillinger, the conventional jock
whose actions ripple throughout Jeremy’s journey. While a smaller role within
the production, Tennant adds tone to what could easily be a one-dimensional
part, understanding the character’s impact on key plot moments—particularly the
Halloween party that triggers The SQUIP’s downfall. His performance of
“Halloween” opens Act Two with commanding energy and vocal strength.
Bennett Blaine portrays Rich Goranski, the initial main
antagonist and high school bully. He is loud, aggressive, and goes out of his
way to pick on Jeremy and Michael (great penmanship by the way). Blaine
channels the energy of an emo kid who just needs a hug—or perhaps a therapy
session. His scene in “The SQUIP Song,” where he sets Jeremy on his fateful
path, is both humorous and pivotal.
Scott Beauchamp brings versatility to his triple act as Mr
Heere, Mr Reyes, and the Scary Stockboy. Each role is distinct and finely
observed, with “The Pants Song” alongside Gianotti emerging as one of the crowd
favourites. Beauchamp’s ability to switch personas seamlessly adds dimension to
the adult world of the show.
Ella Heywood-Smith, Charlotte Turner, Josh Winkler, Isabelle
Milsom, Matty Turner, and Olivia Tod form a tight, sharp ensemble that fills
each scene with individuality and wit. Memorable ensemble moments include Olivia’s
comedic “Frozen” remark, Isabelle and Matty’s consistent dance moves, Josh’s
clever “6 7” Easter egg, and Charlotte’s consistent French-themed costuming.
Though supporting players, their individuality brings vibrancy and depth to
every scene, making the dance numbers pop with precision.
Set and costume design by Ben and Kristin Stefanoff deserve significant praise. Incredible set pieces, painted by a community of volunteers, provide the sci-fi energy that this production thrives on, while the moveable elements create seamless scene transitions executed by the cast. Bold costuming choices brim with character, with Maher’s evolving look mirroring The SQUIP’s increasing dominance, and the Halloween and pyjama ensembles in Act Two bursting with inventiveness.
Matt Ralph’s lighting design, operated by Katherine
Dominish, heightens the show’s sci-fi vibrancy. Shifting tones and effects draw
the audience deeper into the surreal digital world. The visual design is bold
and meticulous, mirroring the production’s thematic pulse—distinct, daring, and
relentlessly engaging.
HMC’s Be More Chill is a thrillingly well-executed
production, blending humour, high-tech chaos, and heart. It captures all the
musical’s quirks while grounding them in human emotion, proving once again that
this company knows exactly how to balance spectacle with substance.
- Andrew Broadbent
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