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PicksInSix Review: Mean Girls - Paramount Aurora

 
 

Finds the Edge Beneath the Pink.
PicksInSix® Review | Guest Contributor | Joan Curto


There is a reason “Mean Girls” has endured. Beneath the pink, the catchphrases and the perfectly calibrated teenage cruelty, lies a story about something far less frivolous: the complicated business of figuring out who you are when everyone around you seems determined to tell you who you should be. Based on the 2004 film with a book by Tina Fey, the musical retains the movie’s rapid-fire wit while giving its characters room to explore the insecurities, ambitions and social hierarchies of adolescence. At Paramount Theatre in Aurora, director Devon Hayakawa keeps the production brisk, energetic and surprisingly heartfelt.

At the center are Janis and Damian, played by Lucy Godinez and Steven Klenk, who serve as our guides—and occasional co-conspirators—at North Shore High. Both are terrific. Godinez brings a powerful vocal presence to Janis, particularly in “I’d Rather Be Me,” while Klenk delivers Damian’s comic timing with precision. Together, they provide the production with an appealing combination of wit and heart. But this is very much an ensemble show and Paramount has assembled a cast that knows how to make even the broadest comedy land.

The Plastics—Regina George, Gretchen Wieners and Karen Smith—are played by Dariana Mullen, Angel Alzeidan and Julia Hope Budd, respectively. Each brings her character’s distinctive personality and vulnerability to life, particularly in song. Mullen’s massive deal-Regina is especially formidable. She understands that Regina’s power comes not simply from being mean, but from knowing exactly how much everyone else wants her approval. As Cady Heron, Elizabeth Stenholt carries much of the show’s emotional weight. Her Cady is neither entirely innocent nor entirely culpable, making her transformation—and eventual reckoning—more compelling. Vocally, Stenholt is impressive, particularly in the soaring “I See Stars.”

Veronica Garza deserves special mention for her work in three roles: Mrs. Heron, Ms. Norbury and Mrs. George. Each is sharply drawn, but it is Mrs. George, Regina’s gloriously inappropriate mother, who delivers some of the evening’s biggest laughs. And then there is the ensemble, which rarely gets a chance to catch its breath. Choreographer Kasey Alfonso keeps the movement crisp and energetic, while the clever use of desks on wheels turns the architecture of high school into part of the choreography. The Mathletes, naturally, get their moment in the spotlight.

Paramount’s production itself is another star. Milo Bue’s scenic design with a stage revolve, mobile desks and fluid transitions together with Greg Hofmann’s effective lighting and Kotryna Hilo’s teen-era appropriate costumes, create a surprisingly cinematic sense of movement, allowing classrooms and hallways to materialize and disappear around the characters. The rain curtain used for projections is an ambitious touch, although from my vantage point some of the images were difficult to decipher. Still, the production succeeds in creating a vibrant theatrical world that matches the show’s pop sensibility without losing sight of its darker themes.

What makes this “Mean Girls” particularly enjoyable is its willingness to embrace both the exuberance and the vulnerability of the material. Bullying, belonging, identity and the intoxicating power of popularity may be timeless subjects, but Fey’s observations still have plenty of bite. The enthusiastic opening-night audience on Friday certainly seemed to agree. The film’s devoted following may bring audiences to Aurora, but this production gives them plenty of reasons to stay: strong performances, energetic choreography, clever staging and a cast that understands the human being hiding beneath the stereotype. And yes, there is pink. Lots of pink. For a few hours, at least, it is perfectly acceptable to call something “fetch.”

GUEST CONTRIBUTOR | JOAN CURTO is a Chicago-based, award-winning vocalist, director and producer. Most recently, she has collaborated with The Auditorium Theatre of Roosevelt University, directing and producing several acclaimed productions.

PHOTO|Boris Martin

Paramount Theatre
presents
Mean Girls
23 East Galena Boulevard
Aurora, IL
through October 11, 2026


WEBSITE

TICKETS

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PicksInSix Review: 1776 - Marriott Theatre

 
 

“TO THINK THAT HERE WE ARE.”
PicksInSix® Review | Ed Tracy

The inspiring production of “1776” that opened Wednesday at the Marriott Theatre brought a few familiar thoughts to mind about our young and exuberant country.  Democracy is messy. The more things change, the more they stay the same. And a line from one of Sherman Edwards’ songs: “To think that here we are.”

That jubilant statement is sung out by Benjamin Franklin (Richard R. Henry) to John Adams (Tyrick Wiltez Jones) and Thomas Jefferson (Erik Hellman) as the newly drafted Declaration of Independence is being read to the 2nd Continental Congress. They know that there are pitfalls and more debate ahead—and the reality of the bloody war already underway that is underscored throughout the show with missives from ‘G. Washington’ himself—but for a brief instant, getting to this point feels like a small victory.

Obviously, no one truly knows what transpired in the room where this happened. That said, Edwards’ 1969 Tony Award-winning concept, music and lyrics and Peter Stone’s book together create a captivating menagerie of historical characters who are (mostly) bent on unification. All those years later we are today mired in a never-ending election cycle and immersed in an escalating debate about the future vision for our democracy. There is hope and we do generally agree that a new, yet imperfect, nation was formed on July 4, 1776 for the people of the thirteen original colonies, even as freedom and equality for all is still lagging woefully behind.

With director Nick Bowling’s steady hand, sharp choreography by Tanji Harper and a casting coup that has assembled many of Chicago’s top performing artists together on one stage, Marriott Theatre’s “1776” has a sweeping professional sheen as one of the finest and most unique shows on stage right now.

The opposing voice to Adams’s passionate colonial independence is embodied in Pennsylvania delegate John Dickinson, a stellar performance by Heidi Kettenring. The two opposing forces—mediated by Joel Gelman’s stalwart John Hancock and Gabriel Lott-Rogers‘s Charles Thomson with assistance from the ever-present Karl Hamilton as Andrew McNair—weave arguments and slow progress to a bitter stalemate. Along the way, songs teeter from the humorous—“Sit Down, John,” “The Lees of Old Virginia” and “He Plays The Violin”—to the horrific, by South Carolina’s Edward Rutledge (Matthew Hommel) whose chilling referendum to slavery “Molasses to Rum” is alarmingly prophetic. The moving performances of Katherine Alexis Thomas (Abigail Adams), Alicia Kaori (Martha Jefferson), Lucy Godinez (Richard Henry Lee) and a remarkable performance by Jay Westbrook (Courier) in “Momma Look Sharp” deserve special mention in a company stocked with extraordinary voices under the musical direction of Ryan T. Nelson and conductor Brad Haak.

Regina Garcia’s crisp, multi-level scenic design expands Marriott’s in-the-round configuration to create a wide and striking panorama of the chamber interior punctuated by Jesse Klug’s evocative light design and Michael Daly’s pinpoint sound design. The visual picture is complete with Theresa Ham’s gorgeous costumes that make “1776” a truly wonderful—and historic—theatrical event.  

PHOTO|Liz Lauren

Marriott Theatre Lincolnshire
presents
1776
through October 13, 2024


Ten Marriott Drive
Lincolnshire, IL 60069

WEBSITE

TICKETS

847-634-0200 (Box Office)


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