Review: MEAN GIRLS at Albuquerque Little Theater

Mean Girls kicked off the 97th Season at ALT, an enormous accomplishment and impressive feat, especially at a time when the arts, and theater in particular, are so vastly underfunded and rely heavily on the support of individual donors and community supporters. 

I have not seen a musical at ALT before, and I was not sure what to expect. Looking at the lineup for the season as a whole, it seems ambitious and difficult to cast, without knowing the talent pool in Albuquerque as intimately as I do in Santa Fe. I walked away so excited to see the rest of the season.

I first saw Mean Girls on a rented Blockbuster VHS tape in 2004, then on Broadway in 2018, and I remember this: I had a very good time. I unfortunately (or fortunately) had one too many frozen rosés at the Broadway Bar and don’t remember much of the second act except for loudly WOOOING when Damian shouts “She doesn’t even go here!” Yes, WOOOO, I know that line!!!

Anyway, as a millennial who grew up with this movie and has seen it become a musical and then become a movie again, I have to say – it seems a bit overrated. What is it about Mean Girls that speaks to multiple generations across various forms of media? The director’s note states: “Mean Girls is part Shakespearean comedy, with its archetypes, schemes and messenger speeches.”

I felt this aspect of the production was particularly strong: the archetypes were clear and every actor embodied their role without fear or hesitation. The high-level camp caricatures were present when needed, then poignantly human (“I’d Rather Be Me” performed by a sardonic Rachel Mixon as Janis, for example).

But what is there to learn from these archetypes that we have not already come to know? What makes this piece so appealing to actors and audiences? For an actor who is of the Mean Girls age, I imagine its appeal lies in the contemporary music, the Mariah Carey riff opportunities, the sexy costumes, the chance to show off no matter what role they play, and, most importantly, the ability to see themselves in these characters. For audiences, we are given a spectacle that is both universal to the human adolescent experience, yet specific to its characters. We feel for Cady (an earnest interpretation sung well by Kyra Sprague) after being thrust into an alien environment and wanting desperately to fit in. We understand the choices she makes, we cringe at the missteps, we applaud her successes, we know these are the growing pains of becoming yourself and know that none of these choices are permanent or character-destroying. We root for her.

Every single actor gave their all to their individual performances. I was so impressed with the ensemble character choices – it was immediately clear who everyone was and where they fit in the social structure, and choices were intentional and exciting to watch. And let’s talk about the dance numbers! One high-energy, complex dance number after another, and the performers dazzled the entire time. I have seen many community theater productions where the choreography is too difficult for the performers they’ve cast, and the audience has to get on board with a little bit of struggle, but this was not the case here. Dancing was excellent. However, I felt there were a few moments where things were oversaturated with choreo, and some moments called for a bit of stillness in contrast. Standout ensemble numbers: "Apex Predator" and "Whose House is This" (Hector Corona who played Kevin G may have been my favorite performer of the entire production - absolutely unhinged and excellent.)

Other standout performances: Joei Heredia as Karen – OMG. She is delightful, darling, hilarious, honest and so brilliant in this role. An audience member in front of me said, “She is so cute,” every time she finished a scene. It’s true! She worked with any vocal limitations (this music is insanely hard and written for the best of belters), and her character sparkled literally every second she was on stage. Raegan White as Regina George, the Queen Bee, was the vocal powerhouse of the performance. She sang some of the most complex music in the entire piece like it was just a warm-up. Incredible voice, lovely stage presence. "World Burn" was the showstopper. I would have loved to see a touch more character complexity in her earlier scenes – why do we love to hate her?  – but overall, this was an insanely good, professional-level performance.

Abigail Strayhand as Gretchen understood the assignment!!! As with most of the cast, there was room for vocal growth, but she delivered a wonderfully funny and sincere acting performance. Jesie Rocetes as Damian was outlandish and true to the source material, with personal charm and sass. Speaking of personal charm, shoutout to the amazing costume design by Melanie Ebaugh. The design was cohesive and modern, and so individualized to all characters. Costume changes were seamless and intentional.

Director and Choreographer Jonathan Ragsdale gave this large ensemble a wonderful thing: a place to be free and to play in the high school jungle that maybe wasn’t so kind the first time around. I could sense the joy permeating among fellow actors and then seeping into the audience. There was a couple in front of me who couldn’t help but dance along with the actors, and I was tickled to see so many supporters in their Mean Girls gear and favorite pink outfits. I was actually moved by the joyous experience, and I found myself looking forward to the next fun thing.

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