Mean Girls 🦁

#PRInvite #Gifted | This week, 'Mean Girls' is set to roar in Aberdeen. The cult classic title transfers North Shore to the North East, so get in loser - we're going to the theatre. Read the full review below:

Star rating: ★★★

You might not be able to sit with the Plastics, but you certainly can take a seat at His Majesty’s Theatre for the first UK tour of ‘Mean Girls’, running at Aberdeen Performing Arts until Saturday. The show, which premiered on Broadway in 2018, brings North Shore to the North Sea for the first time with big songs and ‘hairs full of secrets’. Adapting one of Tina Fey’s most beloved works, this musical iteration of the 2004 cult classic moves from screen to stage, earning twelve Tony nominations before it was set to undergo an ever-changing creative trajectory.

‘Mean Girls’ is inspired by Rosalind Wiseman’s non-fiction guide, ‘Queen Bees and Wannabes’, written for parents of teenage girls, offering advice on navigating high-school cliques and aggressive behaviours whilst growing up. The film, which stars Lindsay Lohan and Rachel McAdams, replaces parental advice with a comedic spin, charting the disastrous - and rather dramatic - consequences for a home-schooled ‘jungle freak’, who arrives in America from Kenya. As Janis puts it, it's a cautionary tale of "fear and lust and pride" based on actual events where people died.*

*No one died.

Cady Heron has to learn where she belongs in the social hierarchy - a daunting prospect which she likens to animals finding their place in the food chain. Guided by Janis and Damien, Cady must learn how to survive at school for the first time before she lands in the laps of the Plastics: a trio of schoolgirls everyone will have encountered at some stage in their life, who are ‘shiny, fake and hard’. What begins as a quest to unmask their secrets and win over Aaron Samuels soon spirals into a head-to-head battle with the Queen Bee, Regina George. 

The parallels between the jungle and high-school are rife throughout, as the show’s book cleverly envelopes the metaphor in Cady’s new urban life. Though the film title is fun, and an easy watch, it serves an integral question of what might happen if Cady is to shed her skin and forget her days in Africa to fit in at school; and how she loses a part of herself along the way. It’s not a ‘regular’ show, it's a cool show - one great for parents’ nostalgia of the film, and a great lesson in how to survive at school in a delightfully over the top retelling.

The evolution of the ‘Mean Girls’ musical is fascinating. The version that appears on UK shores is the third iteration of the show, after the original Broadway material underwent significant rewriting since its debut in 2018. The UK tour features the new lyrics, a restructured book and new songs from the London transfer. However, despite being marketed as a production direct from London’s West End, the version that arrived in the North East is significantly modified.

The score, produced by Jeff Richmond and Nell Benjamin, is the apex predator this week. If you know the original cast recording well, you’re in for a surprise, as every song has been laced with rewritten lyrics and melodies. A leopard may not change its spots in the African savanna, but the ‘Mean Girls’ musical team have not shied away from their efforts to make the show stronger, and fresher for audiences in 2026. If Cady is able to become Regina 2.0, this production is ‘Mean Girls’ 3.0 - because I’ve actually lost count on how many times they’ve changed the opening number, but I approve!

The musical features some brilliant songs which offer each character their own musical style. From classic Broadway sounds for Damien with ‘Where Do You Belong?’, to Regina’s sultry pop-rock ballads, ‘Someone Gets Hurt’ and ‘World Burn’. There’s a seat around the table for everyone in ‘Mean Girls’. Richmond and Benjamin expertly craft the soundtrack with lyrical and musical gags which are a good contender for Fey’s wit.

Originally directed and choreographed by Casey Nicholaw, ‘Mean Girls’ roars on stage. The cast have incredible stamina and an abundance of energy - the entire company barely leave the stage. The ensemble are multi-rolling, and the way the scenes are presented is largely very creative.

While the show has been continuously improved over the years, the production I saw last night felt like a huge step back. Some rewrites remain, but further cuts have been made to the material, including dance breaks and most notably, the digital set framework that powers the beating heart of ‘Mean Girls’ on stage.

This tour presents a curious case of a stellar cast being let down by the scale of the production. Whilst the sound, costumes, choreography and vocals remain West End worthy; the scenic design by Scott Pask and Ben Davies, and lighting by Kenneth Posner, lack the polish typically seen on the His Majesty’s Theatre stage. By trading the intricately animated video walls for unrefined gauze cloths, the visual impact feels noticeably diminished compared to other high-profile tours recently hosted in Aberdeen. In truth, I felt like I was seeing a very good high-school production, rather than a professional production about a high-school.

While scaling down a high-tech West End show for the road is a logistical change, I wondered how this specific design was greenlit for an audience expecting a West End experience. It’s screaming out for a Kälteen Bar: in desperate need of physical set pieces to bulk it up. In 2026, this forfeit is not only a "less-hot version" of what's come before: but embarrassing.

With thanks to Natalie Gallacher CDG, the ‘Fetch’ front line of performers stepping into the iconic roles for the first time, helps protect the show’s value.

Emily Lane is a joy as Cady Heron, and she handles her with care. Lane takes on some difficult vocal arrangements with precision. Though sweet, I would have liked to see a more pronounced character arc in the second act to heighten the stakes when Cady transforms into a Plastic.

Vivian Panka is a refreshing Regina George. Panka is the first Black actress to take on the role of the Queen Bee, and serves up some powerhouse vocals. She has a commanding presence, even if there was room to lean further into the inherent silliness towards the finale.

Georgie Buckland is the one to watch as Janis Sarkisian. Buckland is no stranger to taking characters from screen to stage, having originated the role of Andy Sachs in ‘The Devil Wears Prada’ musical. She is clearly comfortable in this role which is perfectly tailored to her voice. She is joined by Max Gill as Damien Hubbard who was a deliciously-camp Damien.

Faye Tozer, best-known for pop band STEPS, juggles the roles of Ms Heron, Ms Nortbury and Mrs George. Though her singing is underutilised in this role, this is certainly an impressive feat, showcasing Tozer’s versatility. 

Kiara Dario and Sophie Pourret recite the rules of feminism and provide solid support as Gretchen Wieners and Karen Smith respectively. With a better distinction of wigs, headed by Inga Pivena, they could have been better distinguished in their individual roles.

The primary issue lies in the consequences of the depreciated production. By removing the digital elements, the production is forced to strip away the social media references intended to modernise the story for audiences in 2026. Without these, the musical’s attempt to bring the story forward feels hollow. When I saw the show in London, I was impressed by the creative team’s attempt at mastering the art of being both hilarious and powerful, but this particular staging feels like a missed opportunity to bring the full show to life. Like Cady, it feels like ‘Mean Girls’ has left a part of itself behind. Ironically, the show teaches audiences that ‘less is more’, but the set here proves otherwise.

Credits

Instagram links: @theatregramuk, @aberdeenperformingarts, @meangirlsmusical

Review by Joel Simpson cc: theatregram@gmail.com

Production photos supplied by Aberdeen Performing Arts