PicksInSix Review: School Girls; Or, The African Mean Girls Play - Goodman Theatre
BRILLIANT “MEAN GIRLS” OPENS GOODMAN SEASON
Guest Contributor | Scott Gryder
How many of you can relate to the hierarchy of the social food chain of your own school days? If you’re like me, Goodman Theatre’s long-awaited production of “School Girls; Or, The African Mean Girls Play” all-too perfectly delivers a visceral thrill of the high school hunt. But, before I delve deeper into this elegantly balanced comedy-drama, I have to say: Chicago’s theatrical community is resilient. Though masks were required at all times, and socially distanced seating was in place, the house bubbled with the hubbub and comradery expected of any opening night. But you knew the house was even hungrier than ever for the kind of theatre only Chicago can deliver, when it shook with rapturous applause as the house lights dimmed, and the play began.
The audience is immediately enrolled alongside the five female students we first meet at Ghana’s most exclusive boarding school—Aburi Girls’ Secondary School—when their fast-paced and cliquish dialogue quickly reveals the layers of two-faced and biting dynamics within this social circle. Moving at the animated pace of an 80’s sitcom, a la The Facts of Life, we are seamlessly introduced, and are hooked, to the ensemble of captivating and brilliant Ghanaian students; however, it’s the wholehearted commitment of Headmistress Francis (Tania Richard) who is the backbone that keeps the school, and students, functioning.
Queen bee Paulina Sarpong (Ciera Dawn) flawlessly embodies a calculated Disney villain-like need for power, searching for weakness in others, but also, skillfully cracking with self-doubt. The perfect vaudevillian timing between duo Mercy (Tiffany Renee Johnson) and Gifty (Adia Alli) not only reveals their comedy chops but also their love and trust for each other onstage. The endearing and enduring Nana (Ashley Crowe) brings a palpable tenderness to the group. And the unexcepted new student Ericka Boafo (Kyrie Courter), grounded and vocally epic, only further upsets her majesty’s plans to reign supreme throughout the impending Miss Ghana Pageant and beyond. And, underneath it all, we witness the ever-relatable churnings of inner and social struggles so many of us fight to suppress and hide; and all of the self-destructive behaviors that entails.
As if these young ladies don’t have enough to deal with when it comes to their studies and social status, they must face the global transmission of colorism and racism. Based on true events, this period play is mindfully funny yet daggered with harsh truths. Written by 1st generation Ghanaian-American writer/performer/playwright Jocelyn Bioh, who gave us the 2019 binge-worthy streaming sensation Russian Doll, Bioh continues to scratch our itch for the absurd yet honest predictability of human behavior. And it’s no surprise that these weighted realities are courageously and respectfully staged by director Lili-Anne Brown.
From the start, sound designer Justin Ellington aurally warps us back to the late 80’s as the audience enters the house to the sounds of New Edition and the like, adding layers of authenticity with lively ambient sounds throughout. Yu Shibagaki’s set design is deliciously textured, playing artfully with the layers of shadow and light of Jason Lynch’s lighting design; mirroring the layers of the character’s emotions shown and hidden throughout the play. And Samantha C. Jones’s costumes quickly establish each character’s level of playfulness and power, most especially in the case of Eloise Amponsah (Lanise Antoine Shelley), with more than one scene-stopping moment triggered by her poise and presence.
Even though it’s the sparkling energy of this ensemble that so joyfully welcomes us back to live theatre, it’s what happens when these students become the teachers, boldly reminding us that theatre is not only entertainment, but it’s a tool for revelation and progress. These “mean girls” may push the envelope when it comes to playing their social games, but the world may need a few years in detention until it’s schooled enough to know that all should be seen, heard, and respected regardless of size, shape, and color. After watching these dynamic students discover and grow, you’re gonna want more mean girls like these in your world!
GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com
PHOTOS | Flint Chaney
July 30 – August 29, 2021
Albert Theatre
170 N. Dearborn St.
(312) 443-3800
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