Mean Girls
I’ll tell you what’s fetch: Tina Fey’s writing. With the original ‘Mean Girls’ film 20 years old, ‘30 Rock’ having wrapped up over a decade ago and even ‘The Unbreakable Kimmy Schmidt’ now a receding memory, it’s easy to forget how funny this woman was at her zenith - if I were to ballpark it I’d say that she accounted for about 75 percent of the joy the average millennial liberal felt in our otherwise-joyless twenties. I will admit that I didn’t see the 2024 ‘Mean Girls’ film, which simultaneously served as a contemporary remake of the cult classic original, and a screen adaptation of the musical adaptation that was first seen in the US in 2017. But the ‘Mean Girls’ stage musical that finally arrived in London in 2024 is very, very funny. And it’s not because it’s a nostalgic evocation of the film, which follows naive homeschooled teen Cady Heron as she’s thrust into a clique-riddled Illinois high school, with hilarious results. It’s because Fey has straight up rewritten lots of the jokes and she’s done a spectacular job, her characters riffing away merrily on everything from air fryers and Ozempic to the Dali Lama's tongue-sucking incident. There’s an effortless funniness to her acerbic, surreal, pop-culture infused dialogue, a real sense of ‘oh yeah, Tina Fey is a genius isn’t she?’ Unfortunately she isn’t a songwriting genius, and here’s where ‘Mean Girls’ comes unstuck. The songs – with music by Fey’s husband Jeff Richmond and lyrics by Nell Benjamin – are not funny. Th