Review: Mean Girls is still Fetch and Funny, But Are the Drastic Changes Essential?

The Hit, Fan-Favorite Musical has finally crossed the pond to London and feels refreshed, but some will notice the differences compared to its previous iterations.

★★★☆☆

Move aside, Heathers—the Plastics have officially taken over London! After numerous pandemic-related delays, UK audiences finally have the chance to experience the long-awaited Mean Girls musical. For those who haven't seen it before, the hype is still real—but if you're familiar with the original Broadway production, you might notice a few significant changes.

It's been nearly five years since I last saw Mean Girls on Broadway, but the excitement of that experience still feels fresh: the fervent fanbase, the immensely talented cast, and the earworm-worthy songs, all wrapped up in the infectious pre-Barbie, pink-clad fun. I was hoping to rekindle that same sense of joy I felt in 2018. While the West End production certainly entertained, it didn’t quite hit the same high notes as its previous version.

For those who saw Mean Girls in New York, it’s important to note that the current production at the Savoy Theatre is not a carbon copy of the original. Tina Fey and Jeff Richmond’s new version for the West End has undergone a number of significant changes, including the removal of some fan-favorite musical numbers. The Act I finale, "Fearless," has been replaced with an extended version of "Revenge Party," and, perhaps most controversially, Damian’s show-stopping Act II tap number "Stop" has been cut entirely, swapped for a new solo for Cady titled "I’m Blowing Up."

Forgive my indignation, but how could they cut "Stop"? That number was a perfect showcase of Damian’s flamboyant, stage-stealing energy, and its absence left a noticeable void. A brief 15-second reprise during the curtain call did little to soothe the disappointment. It's a shame London audiences won’t get to experience the full brilliance of that moment.

That said, not all the changes were unwelcoming. Many of the script adjustments help the show feel tighter and more relevant for UK audiences. I particularly enjoyed the clever addition of a Paddington Bear reference during a bathroom scene between Damian, Janis, and Cady. These tweaks inject a fresh sense of humor and cultural specificity into the production.

The cast delivers a powerhouse performance, led by the electrifying Georgina Castle as Regina George. Joining the ranks of belting queens like Taylor Louderman and Renee Rapp, Castle shines in iconic numbers such as "Somebody Gets Hurt" and "World Burn." While I still hold that no one can quite top Renee Rapp’s searing rendition of "World Burn," Castle’s version is undeniably powerful and ferocious, capturing Regina's icy determination with spine-tingling intensity. Tom Xander is equally magnetic as Damian, bringing humor, charm, and a standout performance—though the absence of his signature tap number, "Stop," in Act II leaves a lingering sense of missed opportunity. Even so, Xander's natural stage presence keeps Damian at the heart of the show’s comic energy.

Charlie Burn is a revelation as Cady Heron, giving the character a relatable edge that resonates with modern audiences. Her new song, "I'm Blowing Up," is a fitting addition, cleverly mirroring the rise and fall of social status in the age of social media. Burn's performance captures Cady’s journey from the awkward new girl to the queen of the jungle with authenticity, and the musical update feels particularly fresh and timely.

Overall, while this version of Mean Girls may not be identical to its Broadway counterpart, it still offers plenty of fun, sass, and sharp performances. Just don’t expect the same show if you’ve seen it before—this Mean Girls comes with some new moves.

Mean Girls - Savoy Theatre

Attended on 16 October 2024