Reviewed by Madison Mellon
La Mirada Theatre for the Performing Arts
Through May 3rd
RECOMMENDED
Katie Roche, Sarah-Anne Martinez, Adrianna Rose Lyons and Grace Fluharty (Photo by Jason Niedle)
Few modern teen comedies have achieved the cultural staying power of Mean Girls, and its musical adaptation continues to ride that wave of recognition. Now playing at La Mirada Theatre, this production leans fully into the property’s pop appeal, delivering a slick, high-energy evening. While the material shows some strain in its transition from screen to stage, the production does nearly everything possible to keep it moving at full speed.
The story follows Cady Heron, a formerly homeschooled teenager who enters the unfamiliar social ecosystem of an American high school and quickly becomes entangled with “The Plastics,” the school’s ruling clique led by Regina George. As Cady is pulled deeper into their world, what unfolds is a cautionary tale about the seductive draw of popularity.
La Mirada’s production thrives on the strength of its cast. Katie Roche delivers an impressive turn as Cady, pairing an impeccable vocal performance with a believable emotional arc from awkward outsider to complicit insider and back again. Adrianna Rose Lyons makes a commanding Regina, particularly in the second act, where her performance of “World Burn” is a standout, handling the song’s demanding range with confidence. McKenna Michael and Gavin Leahy are equally engaging as Janis and Damian, serving as semi-narrators with an easy rapport that helps maintain the show’s momentum.
The design elements match the polish of the performances. David Murakami’s projections are well-integrated, and I found them to be less obtrusive than the more garish design of the original Broadway production. While the reliance on digital scenery occasionally limits the physical texture of the stage, they are used here with a degree of restraint and cohesion that enhances rather than distracts. Josh Bessom’s sound design is also particularly strong, ensuring that lyrics land clearly, which is essential in a show driven by humor and wordplay.
Even with this level of execution, some of the musical’s inherent weaknesses remain. Director and choreographer Dana Solimando keeps the pacing brisk, but the end of the first act feels rushed, moving through familiar plot points without allowing them to fully land. The adaptation also dulls the edges that made the original film so iconic. Regina, especially early on, feels less like a genuine threat than she does in the film: she sings that she is a “massive deal” rather than demonstrating it through action.
The score by Jeff Richmond, with lyrics by Nell Benjamin, is undeniably catchy, but uneven. While many songs are effective and fun earworms, the lyrics too often feel as though they’re a first draft: “It’s a revenge party with your two best friends / It’s like a party with revenge is what it’s like”.
Even so, La Mirada’s Mean Girls succeeds as an energetic and entertaining production. The cast’s enthusiasm and the show’s technical polish carry it through its weaker moments, resulting in a version that feels vibrant and accessible, even if it never fully recaptures the bite of its source material.
La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd., La Mirada. Thurs., 7:30 pm, Fri., 8 pm, Sat., 2 pm & 8 pm., Sun., 1:30 pm & 6:30 pm; thru May 3. https://lamiradatheatre.com; Running time: Two hours and 30 minutes, including intermission.
