Arriving at the Denver Center for the Performing Arts for the opening night of Mean Girls was, ironically, one of the most high school experiences imaginable — confusion, congestion and waiting around with no clear information. After battling an overcrowded $17 parking garage, an unexpected delay meant the theater doors didn’t even open until the show’s stated start time of 7:30 p.m.
As the crowd, which was largely overflowing into the outdoor galleria area, awkwardly shuffled inside like students trudging into an assembly, the ushers, appropriately dressed in pink, repeatedly assured us they had no idea what caused the holdup, offering the vague explanation that "all delays are the decision of the show." Finally, at 7:50 p.m., a pre-show announcement from Tina Fey herself assured us the show was about to begin. She reminded us not to record anything because, as she put it, “there’s already a movie of this.”
Now, was she referring to the 2004 classic or the 2024 TikTokified catastrophe? Hard to say. But that sharp humor and slight exasperation that we began the show with? Turns out, it set the perfect tone for the night ahead.
Before delving into the production itself, it’s worth exploring how Mean Girls evolved from a cult favorite film into a Broadway musical. Mean Girls originated as a 2004 film written by Fey, based on the non-fiction book Queen Bees and Wannabes by Rosalind Wiseman. The film became a cultural touchstone, celebrated for its biting humor, instantly quotable dialogue and sharp take on high school social hierarchies.
In an era when ruthless corporate Broadway producers will adapt any IP with a shred of cultural relevance, its adaptation to the stage was a natural progression. Fey, along with her husband, composer Jeff Richmond, and lyricist Nell Benjamin, adapted the film into a musical that debuted on Broadway in 2018 under the direction of Casey Nicholaw. With a pop-driven score and a modernized script that tweaks the original for contemporary audiences, the musical attempts to recapture the magic of the film while bringing some new elements to the table.
The stage version follows the same plot: Cady Heron, a homeschooled teenager raised in Africa, moves to suburban Illinois and finds herself navigating the treacherous world of high school cliques. She’s quickly taken in by the ruthless Plastics — Regina George, Gretchen Wieners and Karen Smith — but when she and her outcast friends Janis and Damian devise a plan to bring Regina down, Cady soon realizes she’s in over her head.
Fans of Mean Girls the film may delight in hearing classic lines intact (“Danny DeVito, I love your work!” and “Whatever, I’m getting cheese fries” both got enthusiastic cheers), but they should temper their expectations. This is a non-equity tour, meaning the cast and crew are working with a fraction of the Broadway budget and salaries, and it shows.
The original production used projection screens with live scenic elements to transition between locations, but this one uses cheap-looking digitally created physical backdrops that fly into each scene, are static and could conceivably have been generated by AI. The African savanna of the opening scene immediately sets a lackluster tone, and the problem persists: the school cafeteria, bathrooms, mall and Regina George’s mansion all feel as visually engaging as a PowerPoint presentation.
Technical issues didn’t stop at the visuals. The fourteen-person Broadway orchestra has been whittled down to a nine-person ensemble that does an adequate job recreating Richmond’s peppy score, though the sound lacks the full-bodied energy it was clearly meant to have. But hey, at least it’s not the dreadful digital soundtrack from the 2024 film.
Many of the show's pacing issues stem from Casey Hushion's tour direction, which lacked imagination. While the desk choreography in the classroom scenes is clever, too many moments feel stagnant, particularly when the Plastics are center stage. Long stretches of dialogue are delivered with characters simply standing in a straight line, killing any potential for dynamic staging. Worse still, the lighting design by Kenneth Posner is shockingly poor, with actors frequently left in the dark and lighting cues visibly adjusting mid-scene in an attempt to catch up.
Then there was the mid-show disaster: right before the performers were about to start "Revenge Party" near the end of the first act, the actors hit their cue, and…nothing. They stood there, exchanging nervous glances, before an unseen voice informed the audience, “We are experiencing technical difficulties.” A surprise intermission ensued, and though the show resumed within minutes, no explanation was given.
Where the production does shine is in its choreography and costumes. John MacInnis’ choreography is kinetic, physically demanding and varied, seamlessly blending Broadway, tap, hip-hop and modern dance. The cast commits fully, particularly the thirteen-person ensemble, who are pushed to their limits. The costumes, meanwhile, deliver in a big way — bright, dynamic and (of course) drenched in pink. Interestingly, this tour features brunette Regina George, a choice that may be intended to make a statement: that people with brown hair can also be mean. Truly revolutionary!
The cast itself is working hard to elevate the material. Katie Yeomans has the unenviable task of playing Cady Heron, a character saddled with the show’s weakest songs ("It Roars," "Stupid With Love" and "I See Stars" all fall flat). Still, she handles Cady’s transition from naive newbie to calculating Queen Bee effectively. Maya Petropoulos' Regina George has a commanding voice, but the unnecessary redemption scene between her and Cady before the Spring Fling feels forced.
Kristen Amanda Smith does her best as Gretchen Wieners, though the script doesn’t give her much to work with, and her solo, "What’s Wrong With Me?" is too brief to make an impact. Maryrose Brendel steals the show as Karen Smith, nailing every dimwitted punchline and delivering "Sexy" with scene-stealing confidence.
Alexys Morera (Janis) and Joshua Morrisey (Damian) make for a strong comedic duo, with Morera’s "I’d Rather Be Me" standing out as one of the show’s few genuinely powerful moments. And Morrisey leans into the role's camp, milking his laugh lines for all they are worth and demonstrating some solid tap skills in "Stop."
José Raúl, who plays Cady and Regina's love interest Aaron Samuels, nails his character's comedic moments but sounds strained in his upper register when asked to sing. Similarly, Kabir Gandhi, as the charming captain of the North Shore mathletes Kevin G, was hilarious in classroom scenes but was almost inaudible in his big rap solo "Whose House Is This?" thanks to poor sound mixing.
Kristen Seggio juggles three roles (Mrs. Heron, Ms. Norbury and Mrs. George) and brings distinctive flair to each. Tym Brown (Principal Duvall) provides solid deadpan comedy as the show's non-singing and somewhat befuddled authority figure.
At its core, Mean Girls the musical remains a competent adaptation that captures the broad strokes of the film, though it never improves upon it. The humor holds up, the music is serviceable (better when it leans into comedy rather than sincerity) and its central themes of social survival and self-acceptance remain relevant, if a bit toothless in execution.
That said, watching this stripped-down tour in 2025, one can’t help but wonder if Mean Girls is even mean enough anymore. In an era where real-life political discourse has devolved into something nastier than anything Regina George could dream up, this production feels oddly quaint. It might be trying to show that “we’re all in this together,” but in reality, we seem further apart than ever.
Mean Girls, Tuesday, February 25, through Sunday, March 2, at the Denver Performing Arts Complex, 1101 13th Street. Get tickets at denvercenter.org.
As the crowd, which was largely overflowing into the outdoor galleria area, awkwardly shuffled inside like students trudging into an assembly, the ushers, appropriately dressed in pink, repeatedly assured us they had no idea what caused the holdup, offering the vague explanation that "all delays are the decision of the show." Finally, at 7:50 p.m., a pre-show announcement from Tina Fey herself assured us the show was about to begin. She reminded us not to record anything because, as she put it, “there’s already a movie of this.”
Now, was she referring to the 2004 classic or the 2024 TikTokified catastrophe? Hard to say. But that sharp humor and slight exasperation that we began the show with? Turns out, it set the perfect tone for the night ahead.
Before delving into the production itself, it’s worth exploring how Mean Girls evolved from a cult favorite film into a Broadway musical. Mean Girls originated as a 2004 film written by Fey, based on the non-fiction book Queen Bees and Wannabes by Rosalind Wiseman. The film became a cultural touchstone, celebrated for its biting humor, instantly quotable dialogue and sharp take on high school social hierarchies.
In an era when ruthless corporate Broadway producers will adapt any IP with a shred of cultural relevance, its adaptation to the stage was a natural progression. Fey, along with her husband, composer Jeff Richmond, and lyricist Nell Benjamin, adapted the film into a musical that debuted on Broadway in 2018 under the direction of Casey Nicholaw. With a pop-driven score and a modernized script that tweaks the original for contemporary audiences, the musical attempts to recapture the magic of the film while bringing some new elements to the table.
The stage version follows the same plot: Cady Heron, a homeschooled teenager raised in Africa, moves to suburban Illinois and finds herself navigating the treacherous world of high school cliques. She’s quickly taken in by the ruthless Plastics — Regina George, Gretchen Wieners and Karen Smith — but when she and her outcast friends Janis and Damian devise a plan to bring Regina down, Cady soon realizes she’s in over her head.
Fans of Mean Girls the film may delight in hearing classic lines intact (“Danny DeVito, I love your work!” and “Whatever, I’m getting cheese fries” both got enthusiastic cheers), but they should temper their expectations. This is a non-equity tour, meaning the cast and crew are working with a fraction of the Broadway budget and salaries, and it shows.
The original production used projection screens with live scenic elements to transition between locations, but this one uses cheap-looking digitally created physical backdrops that fly into each scene, are static and could conceivably have been generated by AI. The African savanna of the opening scene immediately sets a lackluster tone, and the problem persists: the school cafeteria, bathrooms, mall and Regina George’s mansion all feel as visually engaging as a PowerPoint presentation.
Technical issues didn’t stop at the visuals. The fourteen-person Broadway orchestra has been whittled down to a nine-person ensemble that does an adequate job recreating Richmond’s peppy score, though the sound lacks the full-bodied energy it was clearly meant to have. But hey, at least it’s not the dreadful digital soundtrack from the 2024 film.
Fans of the Mean Girls film may delight in seeing classic scenes recreated; however, they should temper their expectations.
Photo by Jenny Anderson
Then there was the mid-show disaster: right before the performers were about to start "Revenge Party" near the end of the first act, the actors hit their cue, and…nothing. They stood there, exchanging nervous glances, before an unseen voice informed the audience, “We are experiencing technical difficulties.” A surprise intermission ensued, and though the show resumed within minutes, no explanation was given.
Where the production does shine is in its choreography and costumes. John MacInnis’ choreography is kinetic, physically demanding and varied, seamlessly blending Broadway, tap, hip-hop and modern dance. The cast commits fully, particularly the thirteen-person ensemble, who are pushed to their limits. The costumes, meanwhile, deliver in a big way — bright, dynamic and (of course) drenched in pink. Interestingly, this tour features brunette Regina George, a choice that may be intended to make a statement: that people with brown hair can also be mean. Truly revolutionary!
The original production used projection screens with live scenic elements to transition between locations, but this one employs low-cost digitally created physical backdrops that fly into each scene.
Photo by Jenny Anderson
Kristen Amanda Smith does her best as Gretchen Wieners, though the script doesn’t give her much to work with, and her solo, "What’s Wrong With Me?" is too brief to make an impact. Maryrose Brendel steals the show as Karen Smith, nailing every dimwitted punchline and delivering "Sexy" with scene-stealing confidence.
Alexys Morera (Janis) and Joshua Morrisey (Damian) make for a strong comedic duo, with Morera’s "I’d Rather Be Me" standing out as one of the show’s few genuinely powerful moments. And Morrisey leans into the role's camp, milking his laugh lines for all they are worth and demonstrating some solid tap skills in "Stop."
José Raúl, who plays Cady and Regina's love interest Aaron Samuels, nails his character's comedic moments but sounds strained in his upper register when asked to sing. Similarly, Kabir Gandhi, as the charming captain of the North Shore mathletes Kevin G, was hilarious in classroom scenes but was almost inaudible in his big rap solo "Whose House Is This?" thanks to poor sound mixing.
Kristen Seggio juggles three roles (Mrs. Heron, Ms. Norbury and Mrs. George) and brings distinctive flair to each. Tym Brown (Principal Duvall) provides solid deadpan comedy as the show's non-singing and somewhat befuddled authority figure.
At its core, Mean Girls the musical remains a competent adaptation that captures the broad strokes of the film, though it never improves upon it. The humor holds up, the music is serviceable (better when it leans into comedy rather than sincerity) and its central themes of social survival and self-acceptance remain relevant, if a bit toothless in execution.
That said, watching this stripped-down tour in 2025, one can’t help but wonder if Mean Girls is even mean enough anymore. In an era where real-life political discourse has devolved into something nastier than anything Regina George could dream up, this production feels oddly quaint. It might be trying to show that “we’re all in this together,” but in reality, we seem further apart than ever.
Mean Girls, Tuesday, February 25, through Sunday, March 2, at the Denver Performing Arts Complex, 1101 13th Street. Get tickets at denvercenter.org.
