Tina Fey’s classic 2000s comedy travels to the West End stage through the UK premiere of its musical adaptation. Guillermo Nazara shares his views on the show, to let us know if this far-fetched piece is worth the grool.
“On October 3rd, he asked me what day it was”. Come on, you knew I was going to start with that quote. You were expecting it. Craving for it. Probably even experiencing some… hard times as your anticipation grew bigger and bigger. And you should be thanking me for performing that line in your head. Praising me. Even worshiping the ground I walk on. “Why?”, will you ask – as if you needed an explanation for it… (I’m such a Regina). But if you need further reason… Well, let me tell you this: IT’S NOT FEATURED IN THE SHOW! Don’t worry, though, it will get referenced. You may be even triggered to say it out loud. But remember, despite this story dealing with all sort of buffoons, camp-over-camp lifestyles and the most b*tch-slapping-deserving villains you could ever imagine, this is not a panto.
Welcome back to the early 2000s. Actually… not exactly. It’s been updated. It’s fine, it’s fine. Don’t panic. Well, maybe just a little. Eventually, this is the high school jungle – and things are bound to get wild, if you know what I mean… But as for the plot, it still filled with all these lovely characters you just want to spit directly in their eyes – or get them run by a bus, whatever seems more plausible… Just a few tweaks – as selfies and social media revenge have been added to the top of the list of How To Succeed As An Eleventh Grade *sshole Without Really Trying (too bad there’s not a disclaimer of how that usually finishes – though Elsie from Chelsea seemed happy at the end…). Oh, and also, they sing!
Yeah, yeah, of course you were aware of that. You’re so smart, Karen Smith. But what’s impressive about its score is that, surprisingly (and I cannot emphasize that remark enough after such a busy period watching new musicals), not only is the repertoire quite enjoyable – sometimes, it’s even catchy. Making a greater effort during the first half (with the second act feeling slighty lazier in terms of the music’s originality), Jeff Richmond’s songs are, in all fairness, a remarkable treat to be regaled by – delivering several interesting themes which, though perhaps not the most outstanding, still manage to be memorable while serving the narrative with absolute ease.
The satirical tone of the source material is well-preserved, apart from the book (penned by film’s author, Tina Fay), through Nel Benjamin’s extremely amusing lyrics – exuding both flair and style, while hinting some tiny specks of hilarious viciousness. And despite some occasional flaws in their prosody, as well as some undesired rhymes (I think we can do better than you “you are so rare, I see you there”), the general vibe is of a carefully polished piece of writing where all its components are perfectly assembled.
Such rapport is evenly matched by the production’s visuals, creating an honestly jaw-dropping spectacle despite their uncomplicated resources. All in all, it’s basically screens combined with a few props coming in and out. But it’s that spotless integration that makes Scott Pask’s approach, in tandem with Finn Ross and Adam Young’s highly dynamic and largely eye-striking video designs, a fully functioning machine that serves as a competent substitute for a practical approach (though, please, let’s not make this the new standard – we’ve been conned too many times already…). In addition, Kenneth Posner’s lighting serves as another pivotal element in the montage, rendering both texture and emotion through its superbly intricate concoction – sometimes, even able to take complete protagonism for a few seconds throughout the numbers.
Our team of moronic sophomores can breathe calmly now (I’m starting to realize what they haven’t been quoting my reviews too much lately… envy, right?), as their rendition last night proved them to be one of the strongest companies the West End has currently on offer. All of them flaunting astonishing vocals and unbelievable precision in their dancing, Charlie Burn makes one of the most noticeable appearances in the lead role of Cady, providing her character with both charm and appeal, while also showing register through the character’s evolution. On the other hand, Grace Mouat gives an uproarious portrayal as Karen Smith, boasting an exceptional comedy bone that automatically puts a smile on your face the moment she comes onstage. However, the highest praise goes to Tom Xander as Damian Hubbard, oozing refreshing attitude and compelling magnetism through his farcical yet always adorable (and somewhat, profound) personage.
You’ve seen the film. You’ve probably seen the sequel. And now you will come see the musical, because you’re an obsessive-compulsive nerd (I’d better make sure my address is never leaked online…). But if you do (and even if you do it again), no one can blame you – just seek therapy. But also, there’s too many reasons not to miss it. You will laugh. You will sing (when you live the theatre, please). And you will feel rejuvenated by a piece that, besides its easy, absurd humour, also gives us enough tools to reflect about one of the harshest episodes in life for practically anybody. It’s fun and entertaining. And it’s executed (there’s a bit of that too…) with impeccable dexterity. No matter what the cool kids at your school say, only dorks would dodge the chance to watch it. Oh, and regardless of what old Regina said, sweatpants are sexy – especially when there’s not much room left to fit inside (you know where I’m looking at… and for!).
All pictures credit to Brinkhoff/Mögenburg.
Mean Girls plays at London’s Savoy Theatre from Tuesday to Sunday. Tickets are available on the following link.