Book: Tina Fey
Music: Jeff Richmond
Lyrics: Nell Benjamin
Director: Casey Nicholaw
Based on Tina Fey’s iconic 2004 movie which itself was based on Rosalind Wiseman’s 2002 self-help book for the parents of teenage girls, Queen Bees and Wannabes, Mean Girls the musical hits the stage in Glasgow on its first UK tour.
Into the cesspit that is US high school life drops 16 year old, home-schooled Cady Heron, fresh off the plane from Africa. As the shiny new novelty in town, she’s taken in by The Plastics, the meanest of the mean girls in town. After a glimpse of what evil the terrible trio are capable of, and with the encouragement of outcasts Janis and Daniel she aims to infiltrate the clique to help Janis exact revenge. But inevitably and as it ever was in theatre land – things don’t exactly go to plan.
Fey’s text for the stage adaptation stays reasonably true to her original creation with Gen Z updates: smart phones, social media and even Ozempic get a mention, though it fails to capitalise further on the toxicity of online bullying so prevalent today. Ultimately, this family-friendly, highly polished, iteration lacks the rawness that made the original so appealing. This is very much a sanitised 2020s version of the cult movie.
Gone is the early 2000s aesthetic and the even pace of the original, in its place is a frenetic production set to a soundtrack of bland, similar sounding power pop tunes, few of which linger much after the curtain call. Janis’ I’d Rather Be Me, powerfully delivered by Georgie Buckland, Regina’s anthem World Burn and the traditional Broadway style Where Do I Belong? are the only tunes of note.
The production design is minimal, the action is played out to a series colour wash backdrop with minimal props. Casey Nicholaw’s choreography is relentless and the ensemble should be applauded for keeping up the eye-watering energy levels throughout.
The decision to trade freneticism in this stage version for the biting wit of the movie is quite baffling. Stylistically they are two very different beasts. Many of the trademark one-liners are either swallowed up in their delivery (poor diction is prevalent throughout) or badly incorporated into song lyrics. It wallows in the vacuousness of the worst of US teen culture but with none of the required wit or irony.
The saviours of the evening are the duo of Damian and Janis, Max Gill and Georgie Buckland, providing the narration, carry the weight of the production on their shoulders. Both are vocally strong, magnetic performers. Emily Lane’s Cady is largely forgettable and hard to engage with and Lillia Squires delivers a vocally strong turn as the alternate Regina.
Ultimately, an unsatisfying and disappointing production that fails to honour the legacy of the original.
Runs until 11 July 2026 | Image: Paul Coltas
