I definitely think Barrett Wilbert Weed, Kerry Butler, and Taylor Louderman are absolute locks for Tony nominations. Erika Henningsen will likely get in, too, and she deserves it. I also wouldn’t be surprised if Wilbert Weed took home the Featured Actress Tony.
They/them.
"Get up the nerve to be all you deserve to be."
I don't think anyone from this show is a lock for a Tony just yet. Also, Weed is great and has a phenomenal voice, but I suspect that Renee Fleming will be awarded for supporting actress as more of a Lifetime Achievement Award.
I think if anyone will get a Tony nom it will be Kate Rockwell.
Heard a rumor from a pretty reputable source that Mean Girls will be moving into the Lunt now that Charlie is closing, instead of the previously announced August Wilson.
Yeah, I'm with LesWickedly. They've gotten really, really tight with the Jordan Roth crew over the past few months. Doubtful that would change (although I can already envision a huge, amazing Mean Girls marquee over at the Lunt with those big banners...).
DeepVSexyWitch2 said: "Heard a rumor from a pretty reputable source that Mean Girls will be moving into the Lunt now that Charlie is closing, instead of the previously announced August Wilson."
Why? Is it because of Home for the Holidays? They probably don't want back luck from that show. I'M JUST SAYING THOUGH. Home for the Holidays got really bad reviews. Hollywood Reporter said this: "Morose over being stuck in the city during the holidays? Tired of seeing those same old perennials like the Radio City Christmas show or The Nutcracker? If you answered yes and wish to throw yourself even further into seasonal depression, there's a new show on Broadway that's just the ticket" (Ouch).
LOVE that Peitzman review. So happy he agrees that Louderman steals the show. I get more and more excited for her as each day passes. She really is giving an incredible comedic, truly nuanced performance.
They/them.
"Get up the nerve to be all you deserve to be."
I also agree with that review the most out of the ones I've read, but I still have one more issue that hasn't been much discussed: I don't think being set in the present day makes sense. Peitzman says, "it would be nice to see the show reckon with these [bullying] dynamics in a sharper, more culturally current way." The social media stuff is handled deftly, but my impression of the high school experience these days (feel free to correct me if I'm wrong, high schoolers) is that it's substantially less clique-y- to the point that "Where Do You Belong" is almost quaint. For comparison, see something like the Neflix show American Vandal, which is set in the present, uses social media extensively, and is very much grounded in modern high school life. Now, the main audience for the show will have been in high school in the aughts or earlier, so they may not catch the dissonance.
The original Jingle Bell Rock scene was choreographed by Donna Feore, one of the biggest musical theatre directors/choreographers in Canada. I wonder if there were rights issues surrounding using her choreography on Broadway?
I would say, like, 75%-85% accurate, honestly. It's not like someone would faint if the lacrosse kids talked to the anime kids, but, like. It was weird if they sat together at lunch. That was just my experience, though.
They/them.
"Get up the nerve to be all you deserve to be."
Cliques will always be relevant. Just human nature to be friends with people with similar interests to you. There hasn't been some radical transformation since 2004 that everyone holds hands and skips down the hallways together.
BroadwayNYC2 said: "Cliques will always be relevant. Just human nature to be friends with people with similar interests to you. There hasn't been some radical transformation since 2004 that everyone holds hands and skips down the hallways together."
I agree with all of that. I just think social media popularity and extension of self is a lot more central and relevant now than shown here, in ways that subvert the social hierarchy a bit (of course there still is one, with everything that goes along with that). If you're really going to make it set in the present day, then go all in and don't half-ass it.
Riedel reports the creative team is ready and raring for many tweaks to come before Broadway. It's been affirming to hear that the groundwork has been laid pretty solidly so far in D.C., though. I hope they make this whole thing top-notch!
Just got back from the show tonight. It was super, super fun. As an experience alone I loved it, but when looking at it technically I would give it a 7/10.
There are some great moments and BRILLIANT direction and choreography, but the whole trajectory of the show is a little lost story and character-wise. With more solidified songs for Cady and Regina, this can be fixed. Regina needs a big song near the top of Act One to establish her power and the rest will make sense. Not sure if it's Taylor Louderman or the writing, but beyond not having a big song the role didn't 100% work. The other two plastics were phenomenal and had the audience in the palms of their hands. Ashley's facial expressions are spot on and her nuanced acting does the character wonders. I was, though, confused about her wonderful and sentimental song in Act One and how it didn't really ever come around by the end of the show. It was a nice moment but didn't help Gretchen's arc in the long run.
Barrett and Grey are amazing and are clearly having a lot of fun. I wish they had a strong duet just for the two of them in one of their rooms or at the mall plotting or something-just something where it's only the two of them in the spotlight. It seemed like they were tagged into a lot of things here and there except for Janis's "I'd Rather be Me" song...
I've never seen Kerry Butler be so amazing. She killed all three of her roles.
Ensemble was great. Ben Cook, Jonalyn Saxer, and Nikhil Saboo are clear standouts- they had great energy and can dance like mofos. I loved the choreography and staging-Nicholaw is brilliant and this aspect of the piece is top-notch. The desk-ography and transitions between classes in the first school scene blew my mind and was so inventive. Loved the cafeteria and tray work, definitely hints of Newsies. Definitely hints of Mormon in the opening song, as well with the Africa stuff-specifically Mrs. Brown as Rafiki type stuff.
Additionally-small thing, but one of the panels of one of the screen walls was out. It was on for a bit, and kept glitching, until I guess they decided it best to turn it off. Hopefully it's fixed ASAP because it was distracting! Heard some comments about it on the way out of the theatre.
Overall I would say between now and Broadway it just needs focus. More defined songs with catchy melodies will help the commercial level of success and campy yet sometimes sentimental style that they clearly want and are going for. Regina and Cady need their own new songs, give something to Janis and Damien. Cut the Mrs. George song, Kerry is great and shines in the other material-we didn't need that little diddy. They could have a hit on their hands. For whatever it is, it is definitely a fun night out. And PLEASE add something about Karen being able to tell if it is raining by touching her boobs-iconic line that I did miss.
I saw Mean Girls again on the 24th, and I'm happy to report that it seems to have tightened up since I saw it on the 5th. At least 15 minute have been shaved off. Several songs and a few scenes have been shortened for the better, though, I have to admit, I miss Barrett's ginormous puppet. "Wild Life" was a bit shorter but still great. Louderman's Regina seemed more powerful this time; maybe they upped her mike, but whatever it was - it worked! Barrett and Grey were great as usual, as were Ashley and Kate. Kerry knocked it out of the park, and her song/scene as Mrs. George now includes a plot point, so the solo doesn't feel completely out of the blue. It even brought a tear to my eye. Henningsen's Cady felt stronger as well. I'm not sure I liked the way they handled October 3rd - felt like this should have come earlier when Cady and Aaron don't know each other so well. Kevin G. was hilarious, but I still feel like "Whose House Is This" goes on a bit too long. Overall, the story, songs, cast and choreography were really good. I laughed just as much this time as the first time I saw it. I received a survey after the show, so the producers are clearly looking for feedback and willing to make necessary changes. I think Mean Girls will be even better by the time it hits Broadway!
I have a few Playbills, so if anyone wants one (and will pay for postage), send me a private message.
Hi - I'm coming to New York next year, from the UK. First time in a while. I've been looking at Mean Girls tickets at the August Wilson Theatre - surprised at how expensive it is compared to the West End! Paying $250 + fees is really unheard of here. I've narrowed down my seat choices (still expensive, but more bearable....) to front orchestra on the side (around row D, E or F, 3 or 4 seats in from the far side) or front mezzanine on the side (row A, about 5 or 6 seats in from the side).
If anyone has any advice about which is likely to be better, that would be much appreciated.
I know that this is a "no-no," but I listened to a "dirty" audio recording of the show and I have to say that the score really is smart. They could have gone for just a typical "high school musical" score, but they didn't and I appreciate that. I liked the score when I saw it, but I like it even more now after a second listening. I think it would be smart for them to try to add a chorus to a couple of songs. Some of them have a really catchy chorus, but we only hear it once and the rest is a patter song. It would be smart to throw the chorus in there a couple more times.
Also, I hope Tina Fey or someone who works for her reads this thread, if they're not already. If you are, Apex Predator is a fun song that works very well, IMO, but it needs a big ending. It's just begging for one.
Several cast members noted via Instagram Story that they're in "previews" again and one of them had posts of the creative team members there for rehearsals.
"Anybody that goes to the theater, I think we’re all misfits, so we ended up on stage or in the audience.” --- Patti LuPone.