Review: Revamped MEAN GIRLS Musical Debuts at La Mirada Theatre
The stage adaptation of Tina Fey's hit 2004 teen comedy gets a refreshed regional iteration that feels like a brand new show.
It's always exciting when regional theaters around the country are finally given the go-ahead to license recent Broadway hits to be produced locally as non-replica productions, which often gives existing shows a fresh spin with new sets, costumes, and staging that deviate from the look and feel of their original iterations.
Such is the case with the brand new, Southern California regional premiere production of MEAN GIRLS - THE MUSICAL, the 12-time Tony Award nominated 2018 stage musical adaptation of the beloved 2004 Paramount Pictures-released teen comedy that opened this past weekend at the La Mirada Theatre for the Performing Arts. Produced by McCoy Rigby Entertainment, this fun, high-energy, youthfully-targeted revamp continues performances in the city of La Mirada through May 3, 2026.
Smartly self-aware yet unabashedly glossy in its pop-theater sheen, this amusing musical comedy valiantly attempts to translate the biting wit of its Tina Fey-penned cinematic source material (itself inspired by Rosalind Wiseman's book Queen Bees and Wannabes) into a brightly-packaged Broadway spectacle that revels in the absurd social hierarchies of high school life. To its credit, the stage adaptation features a book that is also authored by Fey, now paired with a contemporary score by Jeff Richmond and Nell Benjamin, all of which combine to gleefully satirize adolescent tribalism while celebrating the messy, awkward process of growing up.
Two whole decades have passed since the original film debuted in movie theaters, so, understandably, the stage show's current form integrates the power—and perils—of social media into the mix (something that didn’t exist in 2004), adding an additional layer of instantaneous angst and anxiety and, uh, existential dangers to the proceedings.
The resulting adaptation—for all the hype and marketing push it received during its initial run on Broadway—is certainly an amusing remake of an, arguably, culturally-significant film.To be fair, such a monumental task is a difficult one, trying to match/replicate such a phenomenon note-for-note, so to speak. But MEAN GIRLS - THE MUSICAL did manage to gain a following of its own.
Personally, as a quote-prone fan of the original film, the thought of a stage musical version was an exciting thought, and once I finally experienced the resulting show in person (via its first and second national tours), I certainly enjoyed much of it—especially in its noticeable attempt to basically recreate the film's important memorable touchstones on stage with just slight tweaks. But I also appreciated many of its fresh updates that now reflect how youth culture of today has evolved since a much-younger Lindsay Lohan starred in the original.
Fast forward a few more years (including the release of the musical's own 2024 big screen adaptation) and we have now reached a new milestone for this IP: the regional theater production.
Enter SoCal's McCoy Rigby and La Mirada Theatre—who just recently concluded a remarkable run of its own well-received revival of SWEENEY TODD a month ago and is now one of the first large regional houses in the country to mount its own non-replica version of Fey's highly-quotable teen opus.
I can honestly say that after experiencing their glossy revamped production during its Opening Night performance this past weekend, I can definitely confirm that the show is still a fun, enjoyable romp all around, even if the production doesn't quite solve the flawed narrative machinations that is still part of the mix.
Many of the show's jokes—some new, some iconic from the original—still land and remain a laugh riot. Many of the pop culture references still come off as comedic gems ("Ohmigawd, Danny DeVito, I love your work!") which mingle nicely with fresher ones that relate to more current times. There are even newer sight gags to accentuate it all (wait until you see what happens inside North Shore High's mascot costume). While a few isolated moments had me slightly puzzled, for the most part, the show had me laughing my ass off—which, by any measure, is always a good sign of a successful musical comedy.
And musically, the show has introduced some changes, seemingly minor, but enough to have me scratching my head and asking myself—wait… did they just cut out that song? Did they change the lyrics to that? Did they move sequences around? What happened to the rest of "A Cautionary Tale?" Did they condense that scene?
Honestly, I'm still not sure.
So, of course, by the time I stood up to join the rapturous applause during the opening night curtain call to give the show's talented cast their well-deserved flowers, the production, for me, feels like a wholly new show overall—as if a majority of it has been retooled and revised, even if the changes I thought I have witnessed are, in reality, merely cosmetic ones for this particular iteration.
Rest assured, though, that the intended spirit of Fey's iconic dark comedy—peppered with some extra bubbly-ness here and there—still lingers like the extra pounds caused by consuming lots of Kälteen bars.
But therein lies the show's Achilles heel as well: with the show's major push to look and feel like an acceptable successor to the original source material very much top-of-mind, MEAN GIRLS - THE MUSICAL sometimes stumbles and perplexes in its rush to get to every… single…moment… that stood out in the film, making sure each is painstakingly referenced and recreated, particularly in its seemingly rushed first act.
With that said, structurally, the stage adaptation does mostly retain the sharp skeleton of Fey's hilarious original film, while also amplifying its emotional stakes through a kinetic pop score and its stylized theatricality. Richmond and Benjamin's songs—some fun and catchy, others merely serviceable—do channel the glittery sensibilities of contemporary radio pop while also still serving character-driven storytelling.
Numbers like "Apex Predator," "World Burn," "Revenge Party," "Where Do You Belong?," and the winningly anthemic "I'd Rather Be Me" propel the narrative forward with tongue firmly planted in cheek, allowing the characters' insecurities and bravado to explode into heightened musical confessions.
Directed and choreographed by Dana Solimando, La Mirada's iteration is high-spirited and a seemingly non-stop whirlwind of chaotic activity—at times great for keeping the action amped up and always moving forward, but is also its own detriment when it comes to keeping things organized and comprehensible to the scant few who have never seen the movie and are possibly unfamiliar with its story.
The spectacular dance sequences are certainly phenomenal and attention-grabbing, as is the remarkable criss-crossing traffic jam the exuberant cast undertakes with impressive precision. Solimando's hyper-stylized choreography and dynamic staging does help the show move with near-cinematic velocity, reflecting the ever-shifting alliances and emotional volatility of its characters.
Visually, the show looks absolutely awesome—and, dare I say, even better than the Broadway and national tour productions. This is mostly because of the refreshed scenic design by Stephen Gifford, which is complemented by David Murakami's impressive, sleek new projection designs and Steven Young's lighting that are all unique to this production—and why this new iteration feels very much like a completely new show.
Gone are the overwhelming billboard-style, big font animations of the original Broadway and touring productions; here there's a more palpable sense of actual visual integration of sets and scenery with its story-enhancing backdrops, resulting in more fluid transitions—it's basically a stage musical for the Instagram Stories/TikTok generation. The show's eye-popping visuals, I feel, are actually more thoughtful and a better fit for the content of this musical, cleverly evoking even further the frantic immediacy of teenage life in the social media age, where reputations can be built—or obliterated—with dizzying speed.
One caveat, however: showing "livestreamed" video from the characters themselves is a great idea in concept, but, execution-wise, it would have been good if the videos shown actually synced with the overheard dialogue paired with them. Alas, it's a fixable glitch.
The show's basic foundations, story-wise, remain lovingly intact, which still centers on Cady Heron (the lovely-voiced Katie Roche), a naïve yet intellectually curious teenager who has spent most of her life being homeschooled by her zoologist parents in Africa. Suddenly transplanted to the bewildering and, yes, more judgmental ecosystem of an American public high school, Cady finds herself navigating an untamed (haha) new terrain populated by a different kind of wildlife—filled with separated cliques, harsh gossip, and unspoken social codes.
Luckily she is quickly befriended by the sardonic outsider duo of Janis Sarkisian (the fantastic McKenna Michael) and Damian Hubbard (the super fun Gavin Leahy), a pair of BFFs and self-proclaimed "art freaks" who give her the lowdown on the inner workings of the school and the pros and cons of its different social islands.
One of those cliques involve the school's reigning royalty: "The Plastics," a trio of impeccably-styled tyrants who "rule" the school with impervious, socio-economically dictated authority. They are led by the viciously calculating Regina George (the deliciously divalicious Adrianna Rose Lyons, whose belt-tastic vocals will mesmerize), and flanked by loyal lieutenants Gretchen Wieners (the impressive Sarah-Anne Martinez), an avowed secret-keeper and busy-body, and Karen Smith (hilarious scene-stealer Grace Fluharty), a self-proclaimed dummy whose ditzy-ness is somehow enhanced by a surprisingly honest self awareness. Together, the trio complete a perfectly coordinated, fashionably on-trend triumvirate that the student body openly worships, envies, fears, and (for many) secretly hates.
As fate would have it, Cady catches the attention of the curious trio and is quickly diagnosed as a project in need of immediate intervention, which leads to an invitation to join their exclusive sanctum. Meanwhile, Janis—motivated by a longstanding anger towards her former BFF Regina—mischievously urges Cady to infiltrate Regina's glittery inner circle as part of a covert scheme to topple the queen bee once and for all.
What begins as harmless—and hilarious—espionage soon spirals into something far more complicated, with Cady herself becoming intoxicated with the popularity and power that now comes with her proximity to (and influence of) the Plastics, which also includes closer access to a possible new love interest in the form of handsome jock Aaron Samuels (Eric Myrick), who she has an awkward meet-cute with in math class (oh, and he is also Regina's ex).
In the process, Cady becomes the very person she was once the antithesis of, which alienates genuine friendships, changes her personality, and sabotages Regina's fragile empire. Eventually, she discovers that the social jungle of adolescence can be just as ruthless as any wild habitat.
Just beneath the MEAN GIRLS - THE MUSICAL's candy-colored exterior lies a surprisingly earnest meditation on identity, empathy, and the corrosive nature of cruelty disguised as popularity. Much like its cinematic predecessor, the stage musical adaptation ultimately argues that the rigid hierarchies of adolescence are both absurd and deeply damaging. By the time the story arrives at its cathartic climax—an explosive reckoning that dismantles the school's toxic pecking order—the show gently nudges its characters toward a more compassionate understanding of themselves and one another.
And, yes, as Damian correctly asserts: no one dies.
A dazzling, entertaining show with high-caliber polish, La Mirada's freshly sprung production is a slick, electrically-charged iteration, boosted by impressive visuals and a sprightly, highly-caffeinated ensemble whose enthusiasm and verve is quite infectious.
This talented cast is just so charmingly enthusiastic—and you can see it in every step and you can hear it in every lyric. And backed by a lively orchestra conducted by musical director Anthony Zediker, the cast warbles with impressive delivery.
Especially cheer-worthy are its pair of fierce leading ladies, Roche and Lyons, whose vocal sparring match as Cady and Regina, respectively, is a fun watch. Leahy as Damian is a bundle of joy with every appearance, while Michael's rebellious Janis is someone you can't help but root for with giddy delight. Martinez beautifully channels the frustration of a loyal friend who continues to be under-appreciated, while the smile-inducing Fluharty creates a character that goes beyond being just another one-note dim-bulb, easily (like she did for me) becoming your favorite North Shore High student amongst the bunch.
Special shoutouts also go to the funny "adults" in the room, Daryl C. Brown as exasperated Principal Duvall, and the incredible Gwen Hollander, who renders distinct multiple roles that include Regina's "cool mom" and Math pusher, er, I mean, teacher Mrs. Norbury. Other standouts include Daniel Dawson who also plays multiple roles including Coach Carr and Cady's dad, and the super-tall Shailen Patel Braun who plays Mathletes Captain-slash-"Rapper" Kevin Gnappor, the show's adorkable rhyming ultra-nerd.
Overall, the production is a worthy new chapter in this stage musical's evolution. Critically speaking, the musical itself succeeds best because it proudly leans into its imbedded satirical bite. Fey's dialogue crackles with familiar quotable humor, while the musical format allows interior emotions to burst forth in gleefully exaggerated fashion ("What's Wrong With Me?" is both sad and funny and alarmingly relatable). At the same time, the show occasionally reveals the challenges inherent in translating a tightly-paced film comedy to the stage: certain moments feel expanded beyond their original comedic precision, while others feel like a rushed vignette in service of recreating iconic moments for its own sake. Still, the musical compensates for these flaws with infectious energy, theatrical flair, and a winking awareness of its own pop-cultural legacy.
Ultimately, this revamped SoCal MEAN GIRLS - THE MUSICAL still proves that the savage comedy of teenage social warfare remains fertile ground for enjoyable musical storytelling, and made even more entertaining when delivered with impressive production values. By marrying high-octane pop sensibilities with Fey's razor-sharp comedic voice, the show, for the most part, is able to transform a cult film into a buoyant stage confection—one that invites audiences to laugh at the ridiculousness of high school hierarchy while remembering, with surprising tenderness, just how painful those formative years can be.
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Photos by Jason Niedle / TETHOS courtesy of La Mirada Theatre for the Performing Arts.
Performances of the McCoy-Rigby Entertainment production of MEAN GIRLS - THE MUSICAL at The La Mirada Theatre for the Performing Arts continue through Sunday, May 3, 2026. The theater is located at 14900 La Mirada Boulevard in the city of La Mirada, CA. Parking is Free. For tickets, visit LaMiradaTheatre.com or call (562) 944-9801 or (714) 994-6310.
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