Navigating the Cliques: A Captivating Journey Through the Musical Adaptation of "Mean Girls"

Leaving the wilds of Africa for the jungles of a Chicagoland high school, transfer student Cady Heron learns quickly that the food chain of the American teenager is dominated by the apex predator herself: Regina George. Convinced by her new friends to infiltrate Regina's Plastic pride, Cady is soon caught in a web of lies, fakers, and insecurity. But can she make it out again before someone gets hurt?

Unraveling the Complexities of High School Hierarchy

Stepping into Cady's Shoes: A Newcomer's Perspective

Stepping into the role of Cady Heron for the evening was understudy Carly Ameling. Bringing technical chops to the vocally demanding role, Ameling initially appeared a bit nervous and disconnected, which suited the newly arrived Cady's sense of disorientation. However, as the performance progressed, Ameling settled into a rhythm, and by the time "Fearless" rolled around, a new stride had taken over. Ameling's portrayal helped Cady grapple with the question of whether she is made of plastic or of stronger, brighter stuff.

Navigating the Suburban Jungle with Quirky Best Friends

Guiding Cady through her new suburban life were her best friends, Janis Sarkisian and Damien Hubbard, played by Alexys Morera and Joshua Morrisey, respectively. This standout duo delivered some of the show's most memorable moments, including "Where Do You Belong?" and "Revenge Party," which truly got the audience energized. Morera, in particular, brought a fun punk rocker vocal vibe to her songs, highlighting Janis' alternative and unapologetic "I'd Rather Be Me" attitude. The quirky friendship between Janis and Damien was both amusing and endearing to watch, as they seamlessly navigated the nods to the original movie while updating the story for a world that is now 20 years older.

The Reign of the Plastics: Embodying the Apex Predators

The Plastics – Regina George, Gretchen Wieners, and Karen Smith, played by Maya Petropoulos, Kristen Amanda Smith, and Mayrose Brendel – were as cool and as sparkly as their clique's name. Petropoulos nailed the ice pop diva vocals and the calculating poise of Regina, particularly in the standout number "World Burn." Smith's Gretchen was so high-strung that you could feel the tension radiating from her, especially in her show-stopping "What's Wrong with Me?" Her precise physical comedy throughout added further layers of twitches and anxious screams. Brendel, as the self-admittedly dumb Karen, was consistently fun to watch, from her wide variety of blank stares to the ad lib-like moments of mental malfunctioning, such as in the song "Sexy."

Memorable Micro-Moments: Supporting Characters Shine

Another standout performer in the production was Kristen Seggio, who portrayed the roles of Mrs. Heron, Ms. Norbury, and Mrs. George – characters with limited stage time, yet Seggio found ways to make them memorable. Her rendition of "What's Wrong with Me? (Reprise)" as Mrs. George was an impressive micro-moment, showcasing Seggio's dexterity and complexity. In just a few bars, she effortlessly conveyed Mrs. George's flitting emotions, from nostalgia to embarrassment to wistfulness for the relationship she had hoped for with her daughter, and the one she had actually enabled.

Ensemble Enthusiasm and Choreographic Refinement

Rounding out the touring cast was a large ensemble that gave it their all, dancing from high school halls to house parties and back again. While their enthusiasm and big facial expressions never waned, there were a few moments where better synchronization and sharpness of choreography across the ensemble would have helped focus the blurred flurry of mismatched steps.

Translating the Broadway Magic to the National Stage

Creatively, the production team successfully translated much of the spirit of the Broadway production into the smaller, movable stage with flair. The original direction and choreography by Casey Nicholaw kept the cast in constant motion, lending to the overall visual of cliques, prides, and herds in the halls. Lighting design by Kenneth Posner and sound design by Brian Ronan helped to designate different zones in the pared-down (though wheelie forward) set design by Scott Pask. And the costume design by Gregg Barnes contained a delightful number of musical theater, Chicago sports, and Drag Race T-shirts, adding to the production's vibrant and relatable aesthetic.