Tina Fey’s Mean Girls became a pop-culture phenomenon after its release in 2004, spawning iconic one-liners and loyal fans. Fourteen years later, it was adapted into a musical, which has now landed at London’s Savoy Theatre in 2024. While the stage adaptation captures much of the original film’s charm, humour, and heart, it didn’t leave the audience leaping to their feet for a standing ovation — though there are plenty of smiles and nods of appreciation for its artistry.
The musical opens with Janis Sarkisian (Elena Skye) and Damien Hubbard (understudy: Freddie Clements) guiding us through a self-aware “Cautionary Tale,” which reveals the ending to no surprise from the audience. Cady Heron (Charlie Burn) leaves her life in Africa behind for a suburban existence in Chicago, whilst her scientist mother (Zoë Rainer) hopes she’ll make friends and thrive socially. At North Shore High, the beautiful Cady quickly befriends outcasts Janis and Damien. When the school’s reigning queen bee Regina George (Georgina Castle) and her clique, The Plastics, take an interest in her, Janis hatches a plan: infiltrate their world and overthrow Regina.
But Cady’s journey to bring down Regina spirals into chaos. As she climbs the social ladder, she loses sight of herself, alienating her friends and her crush, Aaron (Daniel Bravo). When Regina strikes back by unleashing the infamous Burn Book, it forces everyone — Cady included — to face the consequences of their actions. What follows is a journey of redemption, self-reflection, and unlikely forgiveness.
The musical is undeniably fun, with Tina Fey’s sharp, witty book at its heart. Fey’s knack for capturing the humour of high school drama remains intact, and her updates for the stage feel fresh and current. The script seems to be constantly workshopped as it incorporates contemporary references — including a topical Ozempic joke, and a Christmas themed talent show. The music, composed by Jeff Richmond with lyrics by Nell Benjamin, serves the storytelling well. While the numbers are polished and well-performed, they often feel more like functional devices for character development rather than ear worms you’ll be humming on the way out. That said, the energetic performances and choreography gives every number a vibrant boost.
Where Mean Girls truly dazzles is in its production design. Finn Ross and Adam Young’s video staging creates a slick, modern visual feast. The show uses movable screens in place of traditional backdrops, seamlessly shifting scenes with animated transitions, whilst also emoting scenes with vibrant colours. These elements are not just visually striking, they also add energy to the transitions. Scene changes are almost invisible, allowing the show to zip along at a breakneck pace without feeling rushed.
Elena Skye’s Janis Sarkisian was, without question, the standout performance of the evening. Her vocals were rich and powerful, delivering a goosebump-inducing performance of Apex Predator, which commanded my full attention and left me on the edge of my seat. Skye brought depth and believability to Janis, capturing her wit, sarcasm, and vulnerability with ease. In contrast, Freddie Clements, stepping in as understudy for Damien Hubbard, brought charm and energy to his role, but his vocals and ability to handle a minor prop malfunction fell short of the polished standard one expects from a West End production.
Charlie Burn’s portrayal of Cady Heron was delightful, especially in the early scenes, where she captured Cady’s wide-eyed innocence and eagerness to fit in. Burn’s transitions from awkward outsider to Queen Bee, however, felt somewhat abrupt, like I was watching a completely different character. Georgina Castle shone as Regina George, delivering lovely vocals and an appropriately commanding stage presence. While her bad-girl attitude was on point, her characterisation occasionally veered into B-movie territory, which sometimes undercut the menace of her role.
The real scene-stealers were Grace Mouat and Elèna Gyasi as Karen Smith and Gretchen Wieners. Mouat’s comic timing as the hilariously dim-witted Karen was absolute genius. Her facial expressions alone were a joy to watch, often pulling focus with her subtle reactions. Gyasi’s Gretchen was equally captivating, balancing the character’s bubbly eagerness to please with moments of raw vulnerability. Her portrayal vividly conveyed Gretchen’s pain at being perpetually sidelined by Regina, showing her exceptional ability to bring complexity to an otherwise comedic role.
Despite the talented cast witty moments, and groundbreaking staging, Mean Girls never quite reached the heights it aimed for. The production is enjoyable, camp, and packed with nostalgia for fans of the original film, but it lacks the wow factor that sets truly great musicals apart. Instead of leaving the theatre buzzing, you find yourself nodding in appreciation of its artistry rather than being swept away by it.
Ultimately, Mean Girls feels like a nostalgia-driven experience geared towards thirty-somethings reliving their love for the 2004 film. If you’re a fan of the original and want to see a fresh take with some timely updates, this show will offer a fun night out. The humour, strong performances, and inventive staying makes it worth a visit, but in a West End currently bursting with exceptional productions, it doesn’t quite achieve the lasting impact you might hope for. You’ll enjoy it, you’ll laugh, but you’re unlikely to fall head over heels for it.
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