Review by Daz Gale
⭐️⭐️⭐️⭐️⭐️
For too many years, a highly anticipated Broadway musical has teased London audiences by telling them “you can’t sit with us” as the West End eagerly awaited the day Mean Girls crossed the pond. One pandemic and a divisive movie adaptation (of the musical of the movie. Still with me?) later and it is finally time for the West End to fetch their best pink shirts and settle in to North Shore High, but with Heathers still prominent in the West End and beyond, was there room for another musical centred around a high school clique? As it turns out, the limit does not exist.
Based on the now iconic movie from 2004, responsible for a multitude of quotes in popular culture over the last 20 years and for making fetch actually happen, the musical adaptation made it to Broadway in 2018 where it played until the pandemic closed it in March 2020. With a West End transfer rumoured for some time, the original plans to cross the pond faced so many delays, it felt like we might never get to experience this show in the West End. However, great things come to those who wait, and this revised production isn’t just great… it’s grool!*
*Disclaimer: If you have never seen Mean Girls in any shape or form over the years, some of the references may not sit with you. If something doesn’t make sense, you can assume it is either bad writing or a quote/reference – possibly both.
Mean Girls transports you to North Shore High in Illinois where Cady Heron finds herself in a whole new world following her move from Africa. As she navigates the politics of high school and meets all the different groups, she joins The Plastics, led by Queen Bee Regina George. As Cady devises a plan to end Regina’s reign and take her place on the throne, she risks losing what she was doing it for in the first place including her sense of self.
Original writer (and star of both movies) Tina Fey returns to pen the book for this musical adaptation, keeping many of the instantly recognisable moments and key plot points from the movie, much to the delight of an energetic and enthusiastic audience. Admirably, Fey has also been unafraid to change the show – not just from movie to musical but from Broadway to the West End with updated references, new pieces of dialogue and taking out a couple of moments that perhaps haven’t aged too well. The result is the perfect blend of the Mean Girls you know and love as well as a revised story, bringing something fresh to the mix.
There is one key attribute to Fey’s writing and that is the comedy. As the original movie has transcended through pop culture over the decades, it is easy to forget just how funny it was on first viewing – and that funny factor has been amped up for this stage version. Frequently hilarious dialogue meets some brilliant visual gags (look out for Damien’s sunglasses in what gave me one of the biggest laughs of the night) thanks to Casey Nicholaw’s direction seamlessly working with Fey’s writing to create comedy gold. Of course, there is a serious message hidden beneath the hard exterior of Mean Girls, though this isn’t brought to the forefront as much as might have been expected. Perhaps that is a bit of a missed opportunity but the opportunity for a feel-good show full of laughter is something that feels very much needed in the current uncertain climate.
Though the star rating at the top speaks for itself, the one criticism I have of Mean Girls is in its slightly inconsistent pacing. I found the first act to be pretty faultless, but the second act struggled to match its highest highs, taking a while to grab me and not always pushing the story forward cohesively. While the show has been worked on since its Broadway run, I did get a sense that a couple of tiny tweaks to the second act would benefit the show.
While Tina Fey’s book retains elements from the film and adapts others, one thing that is new to this production is in its musical numbers. Rather than feeling inserted in randomly, they fit in to the story flawlessly and add to the narrative. With a consistently strong score, Mean Girls features no shortage of showstoppers. Musical highlights include the beastly ‘Apex Predator’ and rousing ‘World Burn’ – one of two musical standouts for Georgina Castle’s Regina George.
The striking creative elements push Mean Girls forward with Scott Pask’s scenic design pairing perfectly with top quality video design from Finn Ross and Adam Young, transforming the stage with quirky and varied designs throughout in one of the best use of video I have seen in the West End this year. Casey Nicholaw’s playful direction is matched by his amazing use of choreography, bringing larger numbers to life and always looking for the fun and comedy in every bit of movement. Where people talk about chairography in certain shows, with Mean Girls it is the tableography that needs singling out, particularly in the show’s opening scenes, thrilling at every twist and turn.
There is one aspect of Mean Girls that elevates it far beyond your regular musical and that is all down to its sensational cast. With a large number of big characters, many familiar to the audience, it would be very easy to fade into the background or not quite match some of their co-stars. However, this is not a problem in a cast full of stars who manage to take centre stage in their own right while working as an ensemble and letting their co-stars shine in what is one of the strongest and most consistent casts I have seen in a long while.
Charlie Burn steps in to Lindsay Lohan’s shoes as the show’s main protagonist Cady Heron. Expertly leading the production and showing growth in her character, she is the glue that holds together all of the many weird and wonderful characters she meets in an accomplished and charismatic lead performance. Daniel Bravo and Lucca Chadwick-Patel get comparatively small but instantly memorable roles as Aaron Samuels and Kevin G, happily standing aside to let the girls of the musical roar.
When you think of Mean Girls, you instantly think of The Plastics and what a trio of fabulous women they have for this production. Georgina Castle thrills as Regina George, displaying out-of-this-world vocals in ‘World Burn’ and huge standout ‘Someone Gets Hurt’ while showing a bit more humanity to the role in a note-perfect portrayal. Elena Gyasi channels Gretchen Wieners fantastically in a strong showing of versatility as her character unravels,. The trio are completed by Grace Mouat in a mesmerising performance as Karen. In one of the best examples of comedy on stage, Mouat taps into the character to provide some of the biggest laugh-out-loud moments of the night.
It’s hard to single out the standout performers in such a sensational cast where everybody is on top form. However, it is the double act of Tom Xander as Damian and Elena Skye as Jania that steals every scene. From the ingenious opening to Xander’s ability to find the funny in any moment without even saying anything, the pair delight at every turn. It is Elena Skye’s Janis Sarkisian that truly wows with all the right attitude the role replies in a star turn. Performing what has arguably become the most well-known and well-loved song from the show, ‘I’d Rather Be Me’, she gets the moment of the night, demonstrating a truly incredible talent of which her limits do not exist.
A special mention has to go to the two “adults” in the cast with Ako Mitchell in fine form as principal Mr Duvall. Taking on the roles of Mrs Heron, Ms Norbury and the truly legendary Mrs George, Zoe Rainey is at her scene-stealing best, particularly in a scene where she transforms from one to the other at record speed. Bringing three very different roles together, the one consistency is in the incredible standard of her performances.
It’s been a long time coming but Mean Girls was more than worth the wait. While I saw it on Broadway and remember liking it, I don’t recall loving it anywhere near as much as I did this production. Put that down to a winning cast and creative time working symbiotically and the result is one of the most joyous and fun musicals I have ever watched. While there has been no shortage of movie to musical adaptations of late, when it comes to maximising the potential of the original, Mean Girls sets the gold standard. Well, perhaps more the pink standard. A very welcome addition to the West End, prepare to become obsessed with Mean Girls.
Mean Girls plays at the Savoy Theatre.
Photos by Brinkhoff/Mögenburg
However, great things come to those who wait, and this revised geometry dash subzero production isn’t just great… it’s grool!*