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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


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PicksInSix Review: The Full Monty-Paramount Theatre

 
 

Paramount’s “Full Monty” Really Measures Up!
PicksInSix® Review | Ed Tracy

Do not fear. If you are looking for a big, bawdy, unabashed comic revival—with all the twists, turns and pelvic thrusts you can imagine—then Paramount Theatre’s “The Full Monty” is the show for you. Sure, it’s suggestive and saucy, but beyond the boisterousness, it’s a moving story about building self-esteem through dedication, hard work and the support of friends and family. Adapted for the stage by Terrence McNally with a lot of heart there are surprises galore to be found in the music and lyrics by David Yazbek. Add in a terrific cast and you’ve got a winner from top to bottom!

Based on the 1997 hit film about six out-of-work steel workers who decide to bare it all at a local nightclub to pay the bills, the ten-time Tony Award nominated 2000 Broadway musical was reset to middle class America in Buffalo, New York. Jerry Lukowski (Ben Mayne) is struggling to maintain a relationship with his son Nathan (a split role for Will Daly and Ellis Myers) and stuck trying to catch up with child support payments to his wife Pam (Rebecca Hurd) during their divorce. Jerry and his buddy Dave Bukatinsky (Jared David Michael Grant), who is under similar pressure from his wife Georgie (Veronica Garza) to take a security job to tide things over, decide to hatch a plan to make a bundle at a one-night-only strip show at Tony Girodano’s club.

The two first recruit the depressed and despondent Malcom MacGregor (Adam Fane) and then turn to Harold Nichols (Jackson Evans), a former plant supervisor-turned-dance-instructor to help them put the act together. The men then team up with Jeanette Burmeister (Liz Pazik), an adorably salty rehearsal pianist for auditions. Busting out of the pack at auditions Noah “Horse” T. Simmons (Bernard Dotson) and Ethan Girard (Diego Vazquez Gomez) round out the somewhat dubious, but committed, sextet who hilariously transform into “Hot Metal” before the night is done.

At every turn, Director Jim Corti with choreographer Tor Campbell meticulously move the men from initial awkwardness and insecurity forward. It all plays out against scenic designer Michelle Lilly’s brilliant skyline of Buffalo, framed by a massive, multi-story urban landscape that morphs effortlessly from night club to rehearsal hall where the men perfect their dance steps often in uncontrolled unison when least expected.

Music director/conductor Kory Danielson and the orchestra are in exceptionally fine form with Yazbek’s first Broadway score that features the men in “Scrap,” “Michael Jordan’s Ball” and “Big Black Man” (featuring Dotson in a commanding performance), the women in “It’s a Woman’s World,” and the company in the rousing “The Goods.”  Pazik is a blast in “Jeanette’s Showbiz Number” while Mayne and Grant team up well for “Man” and are joined by Fane in the somewhat dark themed, but clever, “Big-Ass Rock.”

Among the quieter moments, Ann Delany “Life with Harold” is a delight. Mayne is superb in “Breeze Off the River” while Evans and Grant shine in the anthem “You Rule My World.”  The inspirational musical highlight of the night belongs to Fane for his soaring vocal in the hymn-like “You Walk with Me” with Gomez that helps pave the way for the showstopping finale “Let it Go” which is full of bright lights and “Hot Metal” enough for everyone.  

PHOTO|Liz Lauren

PARAMOUNT THEATRE
presents
THE FULL MONTY
The Broadway Musical
through October 6, 2024


23 East Galena Boulevard
Aurora, IL 60506


(630) 896–6666

WEBSITE

TICKETS

For more reviews, visit: Theatre In Chicago

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