2000s Nostalgia and Feminism: “Mean Girls” At Harvard

Since its release over two decades ago in 2004, “Mean Girls” has undoubtedly become a hallmark of pop culture with its iconic imagery and incredibly quotable lines. The musical adaptation made its Broadway debut in 2018, with its corresponding movie musical version hitting theaters in 2024. After making its way through many mediums, the story is now being performed on the stage of Agassiz Theater by the Harvard-Radcliffe Dramatic Club. 

Performing such a well-known story comes with its challenges, but producer Lollie McKenzie ’26 put her own spin on the show. At the center of the stage, a platform with two stairs leading up to it is covered in graffiti, crafted by co-scenic designers Olivia Park ’27 and Anna Guerrini ’29. Alongside the typical provocative imagery of vandalism, other messages read “Pit On Top,” presumably written by the band directed by Josetta Wang ’29, and an apt “20% + 4,” which is sure to elicit a few laughs from students of the College. 

The first big number, “It Roars,” describes how Cady Heron (Amelia Sipkin ’29) moves from Kenya to Chicago. It sets up the motif of wild animals as analogous to high school students as Cady navigates the new terrain of social life. Spurned by her peers for her awkwardness, Janis and Damian befriend Cady and introduce her to the cliques of North Shore High School in the jazz number “Where Do You Belong?” On the lyric, “Here’s the sexually active band geeks,” Damian sings to the pit, and the musicians gladly return the finger to him in a hilarious moment of pit-stage interaction. During the dance break, choreographed by Leonard Walletzky ’29, the ensemble uses (suspiciously HUDS-reminiscent) lunch trays to add bursts of percussion to the music.

The fun and delight of Damian’s flamboyant number is interrupted by the ominous introduction of the Plastics. Over the years, Regina George has become the most recognizable and loved character in “Mean Girls,” despite being the main antagonist. Gabriella Medina ’26 spoke to the “Independent” on her experience undertaking the role.

“I think that I am playing a very sort of sassy and messy version [of her]. I want to make people laugh as much as I can,” she said. 

During “Meet the Plastics,” Regina is carried through the crowd of students while in a split, an impressive stunt representing her tight control over high school society. We are also introduced to her underlings, Gretchen Wieners (Grace Hur ’28) and Karen Smith (Gabrielle Greene ’27). 

Cady then meets Aaron Samuels (Joao Pedro Rocha Frazao ’26) in her calculus class and develops a crush. Throughout the exposition of the musical, Sipkin portrays Cady’s initial awkwardness through small gestures that bring the character to life—clenching her fists in excitement or tensely raising her knee. 

The production’s commitment to the 2000s aesthetic shines through, especially in the scenes that take place in the school. The Plastics carry bedazzled pink flip phones, and their costumes’ silhouettes (designed by Lola Griffith ’28) are distinctly from that era.

“It’s quite fun to be able to get back to high school for a little bit and also the 2000s and pink and capri pants and three-quarter sleeves,” McKenzie said.

The musical is inherently self-critical, as it exaggerates and mocks the tropes it employs. For example, Karen expresses her love for dressing up on Halloween in the song “Sexy.” The choreography is perfectly over-the-top; the absurdity of social norms is further exemplified by a girl in a “sexy corn” costume. Though Karen is characterized as “stupid,” she often relays the most insightful lines in the show, such as, “This is modern feminism talking / I expect to run the world in shoes I cannot walk in.”

At the Halloween party, Cady’s dreams for Aaron are disrupted by Regina, who successfully seduces him in “Someone Gets Hurt.” Regina is lifted in the air multiple times by the male ensemble in a dramatic and heart-wrenching performance, as Cady watches from afar, devastated.

Janis and Damian concoct a plan to dethrone Regina in “Revenge Party”—by turning her friends against her and tricking her into eating Kalteen bars to make her gain weight. By the end of the first act, Cady has completely transformed—she carries a newfound confident air as she struts around the stage in a miniskirt and heels. In just over an hour, Sipkin seamlessly reduces the markers of awkwardness in her portrayal of Cady, culminating in “Fearless,” in which she sustains bright and self-assured belts. 

After Cady has toppled Regina, she throws a party at her house. She becomes heavily intoxicated; in a private moment with Aaron (“More Is Better”), she admits to missing the stars in Kenya but naively believes that her current social life is more fulfilling. However, Aaron realizes that Cady has become a “mean girl” and is no longer interested in her, rejecting her advances and leaving the party. 

In “World Burn,” Regina hatches a ploy to take down Cady by framing her for distributing pages of the “Burn Book” around the school, in which every student is insulted except for Cady, Gretchen, and Karen. Medina’s powerful vocals strike fear as the students throw the pages into the audience section. The male ensemble dons wigs and dresses to play the female students fighting each other—a humorous moment that simultaneously fills the stage and draws attention to the ridiculousness of the tropes in the show. 

The girls eventually reconcile over a school assembly during which they make apologies to each other. Cady confronts Regina, but before the argument can escalate to a fight, Regina is suddenly hit by a bus. The screens in the theater fill with mock internet posts about the incident, including memes and a post seemingly by Reneé Rapp, who played the role of Regina in the 2024 adaptation. 

As the plot winds down, Cady confesses to having participated in writing in the Burn Book, which causes her to be suspended from school. However, her math teacher, Ms. Norbury (Rebecca Mack ’27), gives her an extra credit opportunity by competing with the socially awkward Mathletes, led by Kevin G. (very aptly played by Kevin Gu ’26). 

The Mathletes breakdance and rap in a hilariously awful ensemble. In “Do This Thing,” Cady helps the team win the championship, unabashedly being authentic to her passion for math while retaining her confident stance. In doing so, she redeems herself in front of Aaron, and the two share a kiss. 

In the show’s finale, at the school Spring Fling, Cady is unexpectedly voted Queen of the Spring Fling but decides to share her win with the girls of her class, rejecting the social hierarchy.

Throughout the show, I noticed the attention to detail from the background actors outside the main action. I encourage audience members to pay attention to these funny side scenes that make the production unique, as well as the impressive number and speed of costume changes. 

“Mean Girls” is fundamentally about feminism, as it explores the relationships between women when they are pitted against each other and the role of women in a patriarchal world.

“We also have an incredible producer team that have been looking into research in the program on ‘Mean Girls’ at Harvard and different feminist movements at Harvard over the years at Radcliffe, which is so exciting to be in the Agassiz,” McKenzie said. The Agassiz Theater is located in the former Radcliffe Yard.

However, despite the underlying commentary, McKenzie emphasizes that the show is a moment on campus for viewers to enjoy themselves in the colorful visuals and energetic dancing. 

“We wanted the audience to walk away with a sense of fun and joy and nostalgia,” she concluded.

The Harvard-Radcliffe Dramatic Club will be showing “Mean Girls” at the Agassiz Theater from April 8 to 12. Tickets can be purchased at the Harvard Box Office website. 

Ellie Guo ’29 (eguo@college.harvard.edu) is endlessly thankful to Melanie Sanchez ’26, publicity producer of HRDC, for her help in making these musical reviews happen.