With hot designs and sassy humor, the Nashville premiere of Mean Girls finally arrived at TPAC’s Jackson Hall Tuesday night. And while this much-anticipated musical comedy may not always qualify as “fetch,” it certainly delivers plenty of fast-paced fun.
Based on Tina Fey’s hit 2004 film, the story follows Cady Heron — a naive teen who takes on the complicated (and decidedly cut-throat) social hierarchy of a suburban high school, after years of being homeschooled by her parents in Africa.
Die-hard fans will be happy to know that Fey’s book preserves much of the film’s quick wit and meme-worthy lines. She wisely fast-forwards the action to 2019, working in some new gags about social media and technology. (One character tries to explain her aching insecurity by comparing herself to an iPhone without a case. “Like, I know I’m worth a lot, and I have a lot of good functions. But at any time I could just shatter.”) And the film’s pivotal “Burn Book” gets a nice boost, with its vicious slams projected on oversized screens.
In fact, Scott Pask’s sleek scenic design and Finn Ross and Adam Young’s video projections figure prominently in the musical’s success. And director/choreographer Casey Nicholaw takes full advantage, maintaining a crisp pace and blending story and dance in unexpected ways. (The cafeteria tray-choreography in Act I’s “Where Do You Belong?” is quite clever.) He even has youthful ensemble members — decked out in Gregg Barnes’ colorful costumes — “dance” desks and other scenery pieces into place.
The score is solid, if not super memorable, featuring music from Fey’s husband Jeff Richmond and lyrics by Nell Benjamin. But as likable as the songs are, some feel a bit shoehorned into the action. Act I feels especially over-stuffed, and I wonder if a few judicious cuts might strengthen the overall flow.
Nevertheless, the performances are strong and the energy is high with this multitalented cast. Danielle Wade is excellent as Cady, making a believable transition from unsuspecting new kid to social-climbing wannabe, and lending her lovely voice to songs such as “Stupid With Love” and “I See Stars.” Nadina Hassan, Megan Masako Haley and Jonalyn Saxer are appropriately snarky as the school’s most powerful clique, the Plastics — though perhaps not quite as brutal as you might expect. Saxer (a member of the original Broadway cast) is particularly impressive as resident dingbat Karen, demonstrating crackerjack timing and wicked comedic instincts. Her earnest salute to the transformative powers of sexy Halloween costumes, “Sexy,” is an absolute delight. Meanwhile, Adante Carter charms the audience as Cady’s love interest (and Regina’s ex), Aaron. And it’s wonderful to see Nashville’s own Kabir Bery in the role of rapping Mathlete Kevin G. (“Whose House Is This?)
But it’s the outcast duo of Janis and Damian who score some of the evening’s biggest laughs, as they take Cady under their collective wings. Fey has recast the pair into the show’s narrators, offering “A Cautionary Tale” to gullible freshman. Mary Kate Morrissey is picture perfect as the goth rebel Janis, her powerhouse vocals soaring in numbers like “Apex Predator,” “Revenge Party” and “I’d Rather Be Me.” And Eric Huffman makes the most of every juicy line as lovable Damian, introducing us to the school’s various factions in “Where Do You Belong?” and serving up a show-stopping tap-dance number with “Stop.”
Act II gets somewhat preachy at times, though the anti-bullying message seems heartfelt. And I found it rather bizarre that after all of the references to social media and our addiction to smartphones, Queen Bee Regina George would use a photocopy machine to exact her revenge in “World Burn.”
But no one in the audience Tuesday night seemed to mind. Like so many screen-to-stage musical adaptations, this one is all about the audience’s nostalgia for the original. But if you’re looking for a slick show, full of cringey humor and fun, Mean Girls has got you covered. And this time, maybe you can even sit at the cool table.
