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[0:00] Georgina Castle: My name is Georgina Castle and you're listening to Eleven, the official theatre podcast.

[0:15] William J Connolly: Hello and welcome to Eleven, the official theatre podcast that brings the biggest stars and creatives together in one place to discuss life in the arts. She's the West End leading lady that's serving it up and reminding us all why a little bit of mean can feel oh so good. Currently originating the role of Regina George in the West End debut production of Mean Girls the Musical, she's no stranger to having all eyes on her as she brings the legendary character to life, yet this time with crazy added belting too. So here in an exclusive conversation direct from her dressing room backstage at the Savoy Theatre where Mean Girls is currently playing, we talk all things mean including looks, phrases, poses and even books as the most famous blonde high school bombshell in history.

Including her enjoyable audition process, developing this new draft of the show alongside legends including writer Tina Fey and why being a fugly cow is so 2025. Plus there's a deep dive into updating the show and leaving some things in the past, embracing the sequins, why there's no slut shaming around here and why the real love story of Mean Girls isn't between Aaron and Regina but more Regina and Janis. It's the beautiful soul that's anything but mean, the lady herself, it is Georgina Castle. Here now on this the next episode of Eleven, the official theatre podcast.

[1:40] William J Connolly: To ensure the safety of all involved in this episode of Eleven, Georgina and I connected for this conversation digitally, so please forgive any brief moments while we wait for the internet to catch up. Enjoy.

[1:56] William J Connolly: Please help me welcome to this the next episode of Eleven. Well being mean has never looked, sounded or felt this good and it's all thanks to one rather huge West End superstar, leading lady and I'm thrilled to say she's here with me now. So let's hope my name stays far away from the burn but for well at least the next 30 minutes she's laughing already, she's got a massive smile on her face and I am so thrilled to say we tried to do this for a long time and I'm going to say it now. Hello Georgina Castle, how are you?

[2:20] Georgina Castle: We made it!

[2:22] William J Connolly: Are you okay?

[2:23] Georgina Castle: I'm really well thanks, so happy to be chatting to you.

[2:26] William J Connolly: I'm so excited, as I said we've been wanting to do this for a while. I have about four million questions, I think that's probably to like the exact number, so are you ready?

[2:34] Georgina Castle: I'm ready, hit me.

[2:35] William J Connolly: Okay, I should say as I referenced in the introduction for like the two people in the world that have probably been, I don't know, living under a rock or whatever, you play the legendary and iconic Regina George in Mean Girls the Musical. It is this crazy, ridiculous show that I think we probably all were like Mean Girls would be so good as a musical but it's never going to happen because the film is so iconic, everyone loves it, they'd be stupid to do it. Then you come and see the show and you're like oh this is great, like this is really crazy stupid. So before we talk about specifics, judging by the smile on your face I think you might be having a good time.

[3:05] Georgina Castle: I think so, I literally could not be loving it anymore and I love that you say that because I think any time you transfer something from a movie to a musical or a book to a play or whatever, there's always the risk that you lose some of that initial magic and some of what made it initially so special. But what I love about the show and what people have said to me, because I've never seen it because I'm in it, so I don't know what it looks like or feels like from the front, but people have said you know it feels fresh in its own way and like Tina has rewritten lots of the jokes which gives it its own personality away from the original movie which I think is so important when the original movie is so iconic.

[3:43] William J Connolly: And Tina is obviously of course the legendary Tina Fey, just casually your colleague and boss now right?

[3:47] Georgina Castle: I know yeah exactly, Tina we're on first name terms, we're not. I wish I was cool enough. She's an angel, I had the pleasure of meeting her actually, I think one of the first times I met you and it was, she's a diamond but we'll talk about her in a second because I want to go back to what you said there about the transfer of like film to stage because like people are protective of it but for the right reasons. It's not that people don't want it to happen, they just want it to be good and I think the beauty of what you guys have created is that you are honouring what we know but also celebrating a new chapter. This is with additional musical songs, quite a lot of them as well and it must be nice for you to know we love that but this is now and this is an opportunity for you to create Regina George for originally a 2024 now 2025 audience. This is your baby and you get to make her yours like that must be such an honour.

[4:30] Georgina Castle: It is, it is such an honour and I'm, I was always aware of that from the beginning but didn't want to put you know too much pressure on it at this at the start to sort of go all I need to is here, I need to take the best things from Rachel or the best things from Renee or Taylor who did it on Broadway and I worked actually really hard to sort of try and zone in on what is my version of this person because everyone I think has an idea of what Regina is or who she looks like or they had someone at their school that was Regina or there was a group of girls like I feel like everyone has a very specific reference point and I had the benefit of having lots in terms of all the people who played it before but also I was like I really just want to tune in to mine which is why I think my Regina is she's a little more silly, she gets a little bit ridiculous at the end and I think that's because I'm quite goofy and that's normally the sort of type of character that I play so to play the cool girl felt unnatural to begin with but now I love it.

[5:29] William J Connolly: And it does also look like you're having fun and there's nothing worse than seeing something taking something too seriously on stage and you said there about you had lots of different touch points when you first if you don't mind talking about your audition process like where did you begin where did you go do you know what this is how I think my Regina is like what was the first thing that you went of all these wonderful leading ladies in the show I think she's a bit of me where did you begin?

[5:48] Georgina Castle: I think probably with Taylor because I listened a lot to the music Taylor Louderman who originated it on Broadway and that really helped me get in the zone so the audition process for me for this for me was my favourite I've ever done because I genuinely thought there's no way on earth I'm getting this part so I felt no pressure and I felt just like complete and utter freedom to just go in and be Regina and get to play her for that 10 minutes but I would be remiss not to mention Taylor just because the music is so iconic and her voice and the sort of the heights that she reaches and I listen to that a lot so I'm sure that has seeped in. It's a good person to be able to build off of but what you do so beautifully in this production which I think is important to note is that this is not a copy of what people may have been lucky enough to see on Broadway myself included this is like a revamped sort of remixed version of Mean Girls where you feel like you just get so much energy from the beginning which means you are kind of creating a newer version of Regina and that's not doing any disservice to Taylor but this is like this is the remixed reversion Botoxed version right how do you describe it?

[6:57] Georgina Castle: There is definitely like a heightened element to I think my version of it. Casey said something to me at the beginning which was she is never she's never off camera she's never off in in any moment she is always hyper aware of what she looks like of what every strand of where every strand of her hair is falling like exactly how she's done her makeup like everything is so highly tuned and I think that's helped me sort of get into a sort of more weird sort of predatory type space because the alertness really helped me access something with the character if that makes sense.

[7:29] William J Connolly: Yeah absolutely she's quite literally the apex predator so it's very very well done I'm very proud it all ties in and I think that's where the George came from because she's the apex predator and you sort of think of someone like with their prey and just manipulating it and doing all of these silly vowel sounds and vocal fries and it's not just to be silly it's you know it's she's getting her mouth around the words like she sort of would get it around the people.

[8:02] Georgina Castle: Yeah like literally like the meat it's yes exactly thank you for you being the one to make that.

[8:06] William J Connolly: Yeah I know I wondered if you would pick up on it and I was like did I get away with that awful innuendo no I actually rewrote my introduction because I was going to do at the beginning and I was like you know what just go for the burn book it's fine it's yeah you'd be like wow he thinks I'm that terrible at doing that okay cool thanks very much.

[8:22] Georgina Castle: But also like as silly as it is but like that forwardness of her is quite cutting at times and it also shows I think that she's not particularly aware of her surroundings and she's very much like it's almost like paint stripper in a way her voice goes she goes and then there's no stopping it like there's basically nothing in her way is that easy to is that easy to do because that's like not that's not a normal thing to do that's not how we humans tend to behave and you know I think where that ties into it as well is because you can't forget that though she is manipulative and she's smart and she's the apex predator she's still at high school and is still ultimately a child and is learning and is very much in her feelings so she's impulsive and and like you say she sort of goes hell for leather sometimes ignoring what's around her um and sort of has that dual aspect of then going oh but somebody could be watching me or I need to work it like this but ultimately she still has those teenage impulses that I didn't want to lose especially as a 32 year old woman playing her like it's a different it's a different thing.

[9:22] William J Connolly: So when you're in the rehearsal room where were the points that Tina Jeff and Casey said this is where she's not quote mean this is where she pulls back a bit like where did you find the light because if she just was mean she's just a horrible person but I don't think she is that.

[9:36] Georgina Castle: No I agree and that is what's amazing about Tina is that she never she never writes anyone as all bad or condemns or judges anyone like the way that she writes and from her perspective it's so nuanced that you get that Regina is she's insecure and she's vulnerable which is you know why she's mean or why she lashes out and I think even just from an audience perspective if someone is all mean it's boring and the beauty of this show is that actually the ensemble and the people around me do a lot of the work of telling you that she's mean which means that I have loads of fun being actually quite smiley and charming and manipulative and silly you know the audience know that underneath it's a different thing going on so the show is a vehicle for that for all sorts of different lights and light and shade is like a gift like genuinely a gift and there's no great Tina Fey writing without the comedy which you deliver so impeccably you're quite a funny person anyway so I feel like it comes to you a little more natural than it would me but it's like it's a big lol right the only way that she works is if you realize that she is quite silly.

[10:39] Georgina Castle: Yes I think so and we always laugh at her what's amazing about the comedy is that even though she's so mean you never want anyone else to be the butt of the joke Regina is always the butt of the joke which is why I felt like she had to be quite silly because you know it lets the audience take the piss out of Regina like Regina takes the piss out of Regina without even knowing it like she just does it because that's her that's the way that she behaves.

[11:02] William J Connolly: Yeah but that was really important and I mean Tina is relentlessly funny like she would write she'd be writing different punch lines at the side of the rehearsal room and just handing them to people on pieces of paper and going try this next time or just whispering actually try this and so none of us we wouldn't know what was going to come next and someone would deliver a line and it would get funnier and funnier and funnier and I'm like how how does she how does she do this she's like a machine for comedy it's I've never known anything like it and it was so cool to work with but also a bit nerve-wracking because you're like god damn it her writing is hilarious if I don't get a laugh on this then I know it's me I know it's my problem.

[11:48] Georgina Castle: I feel like if there's anybody you're allowed to take comedy notes from like I'd be like okay I'm not I'm not as good as you do oh my god I would literally sort of get down on my hands and knees and just go tell me everything let me learn and just soak it all up but like what a person to have worked with crazy crazy but crazy talented and I imagine a real joy to be the vehicle to get to to deliver not just the words but also inside of the physical comedy which I guess is a mix of Tina and also Casey's direction because Regina is big but she's also very still but then a lot of what you do which I think is so great is there are quite a lot of looks with Regina that you're like oh she's saying more than she's speaking right now which is probably actually I think slightly more terrifying slightly more terrible.

[12:27] Georgina Castle: Yeah a lot of evils I had someone come come in the other day and they're like god the eye contact was intense and I'm like I want to try and give eye contact to 1200 people and sort of like make them feel like I am staring right at them like Regina is coming for you personally and yes so that that I think has sort of come in there but the physical stuff because I am quite a tall person and I mean Regina is literally in a neck brace for act two I was like there's a lot to play with here I'm sure they'll tell me to tone it down soon but I'm just I'm having too much fun wanging my body around in a neck brace and just being silly and I'm going to keep doing it until they tell me to stop.

[13:07] William J Connolly: Keep going there's no such thing as too much of Mean Girls but like you know when you do the your first entrance in and you get the silhouette and obviously that's a very now signature part of the Mean Girls musical world obviously it is a key connection to the film but really has become synonymous with I guess it's similar to the poster image it's obviously a slightly different one but that dated version where you see the symmetry between the two that is Regina like I think if you asked anybody who is that character even if you took the two ladies beside you could tell which means that actually you just standing still is Regina right like there's a physical element to it.

[13:38] Georgina Castle: Oh 100 and I actually think you know where the sort of fear comes from is someone that's not even trying too hard it's in their stillness because the unpredictability means that you don't you don't feel safe because you don't know what they're going to do.

[13:53] Georgina Castle: Are they going to stay standing still? Are they going to like, all of a sudden jump into something else? It's really unnerving because I think as people, and maybe more as British people, I don't know, but we're, I don't know, physical and humble and always you know, we want to make other people feel comfortable and Regina doesn't do any of that, which has been so liberating as a people pleaser who is you know, trying to move away from that, to not give a shit, it's been really freeing, but yeah there's a lot of power in stillness and doing less as well. But also you know just before, I think it's either just before or just after someone gets hurt when you're with Dan and you're doing the dialogue and it's really close because she's trying to sort of cast ownership over him but also it's like the legs out, the hands occasionally on the hip, it's like, you know like when an animal gets ready to pounce, that's what she's doing right?

[14:44] Oh totally and I love that number because all the way through she's just sort of toying with her prey, she's sort of a bit nasty to him and then she reels him back in with just like a gentle stroke or she sort of casts him an evil glare but then flashes a bit of, a bit of her bum actually, I sort of like give him a little nod over the shoulder, again might not be appropriate but it's happening, but that is the fun, she's literally pulling them in, she's just, she's torturing people and finding it fun. It is weirdly fun, I don't know if we're supposed to admit this, I realise we are recording this but like it's fun. It is fun, I don't know if I'm, yeah you're right, I don't know if this is a good thing to say that it's like, that it feels as good as it does but it does because it's almost like, it's like therapy, it's just you let it all out, more darkness in there than I was expecting.

Do you know what it is? It's probably because it's such a well-written character and it's also so far away, particularly knowing you from you, that it probably feels like an extreme, do you know what I mean? It's just not how we behave. But that's very nice and it's always reassuring when I hear someone say that because when the audition breakdown first came down I was, I thought I would be a Karen, I was like, I'd love to be Karen or maybe Regina and my boyfriend at the time, who's now my fiancé, he turned around and he's like, are you joking? He was like, you're a Regina and I was like, I'm not sure that's a good thing that you think that, that's not very nice. But well, turns out he was right.

He was right, he was definitely right because you just, you just create such ownership with it that feels also very quintessentially British and obviously Mean Girls is set in America, but I was trying to explain this to a mutual friend of ours, Ben, before we came to see the show, which was like, Regina isn't the American version of Regina, that you know, this is like catered to our audiences, which feels exciting going back to what I was saying about this being a new chapter for Mean Girls, like in that we don't really have Regina's in scores, they're kind of just like Mean Girls with want of a better phrase, but like she's so quintessentially British but also has the nods to the original and I imagine that's slightly scary to try and create from the ground up but also you know it's going to connect to an audience, it's like this is your version.

[16:43] Yes, and that's so nice, I've actually never really thought about that or the difference between cliques in America and here. I've sort of thought of it more as a universal thing, so that's interesting and I actually can sit with that a bit more. But I had a Regina at my school, but she wasn't mean like the Regina is in the movie, they were sort of just a group of girls that felt so untouchable and wonderful and actually people liked them because they were, you know, high achievers or beautiful or sporty or whatever, rather than being nasty and I wonder if in America it's different and there is a different, although maybe there is more of a meanness, I don't know. We need to go ask loads of people about Regina George.

[17:27] Exactly, exactly. I don't need, my brain does not need to take up any more space for Regina George, it already does too much every single day. She's just walking in slow motion through your brain. Hey, that's me, so God knows what it's like inside your head. I was going to ask you sort of later on, but I guess it's a good way into kind of the separation between you and her, like is it easy to go, I know that's not me, this character's very far away from me, or just do you find yourself thinking a bit like her in terms of like, she would fight for example, fight or flight, I think she would fight, I think you as Georgie would run away. How does it play out?

[18:00] That's also a really interesting point because I thought about this a lot before I started about how previously if I've done shows before, I take a little bit of that character with me, like when I was doing Sophie in Mamma Mia, I ended up shopping for more beachy wear and like buying more blue and with Dora Lee, I remember I kept my nails long for a really long time because it sort of felt like a bit of Dora Lee was with me. So before this started, I really wanted to make a conscious effort to separate the two, not because I think I was going to turn into a sort of massive dick, hopefully, but because I think for my own head, I didn't want to become in any way, you know, acerbic or nasty or any of that sort of stuff.

So I actually have a perfume, which I get ready and I put my makeup on and I do my whole, you know, I do my warm up and everything. And I spray the perfume just before I go on stage. And for me, that is my in and then I'm like, then I'm in Regina, I can sort of like hone everything and it helps me focus. And then afterwards, it does just sort of like float away. But there are things I want to take, like I want to take her confidence, the confidence, I think, to move around the world, you know, sure of yourself and where your feet are is really important. And I think, I mean, I failed my first term of voice lessons because my voice teacher said, you're not breathing through your legs. And at the time I was like, what do you mean?

Like that doesn't exist. I'm not able to physically breathe through my legs, you idiot. But obviously now what she was meaning is that I wasn't grounded, I wasn't earthy, I wasn't connected to the floor. And Regina is that. So I'm happy to take a little bit of that.

[19:43] I want to ask you about some of the updates to this, because Tina spoke so much about, particularly when there was the movie musical coming out, about it's important to update things. She recognizes some things are great, some things are not. And some of the obvious ones, I think, come through Regina for all of the obvious reasons, which is like changing the stuff about her weight. I know Renee got rid of that as well. And obviously the Instagram filter and obviously the reference, like you looking like the Instagram filter and stuff. Does it feel nice that it feels like this is Mean Girls for now? And perhaps we're not pushing too much of a narrative about them, because it happened with Devil Wears Prada recently as well, where they've just done some updates that feel right, that's still true to them. But also this is 2025, we should try and do something, right?

[20:20] Totally. And I think that she has sort of treaded, treaded, I don't know if that's a word, tread the balance between, you know, you still want it to be mean, nasty, acerbic, cutting, while also not being disrespectful or marginalizing people or making people upset. And I think that's a really difficult thing to navigate. And I think she has done it with a lot of care, time and attention and has got the balance, the balance right, because you still want there to be moments of shock, where you go, I can't believe that they just said that, or that they're allowed to say that. But at the same time, we don't need to talk about, Regina doesn't need to be a certain weight or look a certain way, or be a certain type of person or, you know, or ethnicity or whatever.

All of that is now open and up for grabs, which I think is amazing. And I think that really does come through in our production. It's something that has been really, really celebrated, which is cool. And we haven't had too many complaints or anything yet.

[21:18] I think that's so beautifully done, particularly the very, very, very final, I think it's literally the final thing you do in the show, which is the don't be mean, which is an addition to this production, which is just like, actually, everybody all gets on at the end, and everybody goes home as one. And I think that's such a lovely message. And that's actually, I think I see that picture more than I do the curtain call. I think I do more than the notes at the beginning with all the mean things that are right on there. It's nice that that's the thing that people remember.

[21:46] I love that. Yeah. And it is literally, it just comes up, be a good person. And it's so, it's so simple. It's like, that is the message of the whole story. It's like everyone comes together at the end, including the people who haven't necessarily been very nice, you know, they get forgiven, or they learn, you know, they learn how to be a nicer person, or they're on their way there, at least. And I love that that is the sort of lasting image that people are left with. It's smiles, it's togetherness. And it's, you know, we've got through this as a unit, and now take that, take that into the world, because you hope that the show does stay with people for a little bit after they leave the building, or they still, you know, they think about it and enjoy it.

[22:27] Now, the one thing that has changed, which you and I had a very deep dive and discussion about, which I did actually end up asking Tina Fey about, which is low-key one of my favorite things I've ever done, you know what's coming, is Fugly Cow. So it's a new lyric, it's changed, it was originally, I'm not making this up, it was Fugly Slut originally, and they changed it, right? So obviously, that has its challenges. But now we're not slut shaming, this is now Fugly Cow, which is because it rhymes. Is that the reason? Like, what was the reason that Tina said to you?

[23:12] I don't know. It was funny, because she's changed that. But then when we first, well, I don't know if actually this was when we first met, but when I saw you at R, she was talking very much about how you need to enter into your slut era, go into your Fugly Slut era, and I was like, yes, okay, but it's really Fugly Cow. So I don't know if that was an age thing, I don't know. I actually don't know. I should ask her.

[23:45] Yeah, because the line is, it's just, my name is Regina George, I'm a Fugly Cow. Is that right? Normally, she writes in the burn, but Regina is a Fugly Slut. Yeah. And now it's, yeah, Regina is a Fugly Cow. Yeah. So maybe they thought slut was too aggressive. I mean, I'm the wrong person to ask about this, because I would have been very happy to say it. Tina was saying it, so it's fine. Tina was saying it, we're not. What she says is gospel.

[24:02] Yeah. But there are those sorts of changes, right? That just mean it feels like it's for a little bit, it's a little kinder to the world with the same impact. Exactly that. Exactly that. Yeah. Can I ask you about said moment? We just referenced it about the book, but you do know that anybody that comes to see Mean Girls that knows any freaking thing knows they're all waiting for one song, and that comes out of your voice every night. Talk about pressure, I would actually shit myself. How did, how the fill in the blank did you ever come to walk on, on that first performance, that first preview going, I'm just about to sing notes that shouldn't even be legal? I'm about to try and sing World Burn.

[24:51] I never sang it. When I, when I listened to the soundtrack, and I saw that amazing video of Renee Rapp, they did a promo video of the Broadway, the next cast on Broadway, and Renee did this, did World Burn. And I was, and I sort of like half sang along to the beginning, and then gave up. And I was like, no, this isn't even going in my rep. And now I've sung it a thousand times. And I, I love it. Like, especially now that it's in my voice, and I feel super comfortable with it. It is so much fun to just go out there and just belt your tits off, basically. But also, you don't do yourself any favours, because you put options in there. I mean, that's not as written, my love. That's your choice.

[25:54] No, I know. You're right. You're right. This, I have put it on myself. The more nerve-wracking bit is the beginning, because my name is Regina George. It's like quite small. And so I'm like, if there are any nerves, you're going to hear them in that sort of starting moment. So that bit actually felt a bit more scary. But yeah, that was a Casey Nicholaw thing. Because I said in the audition, I was like, I think I could, I was like, can I try it again? And I'm just going to take it up. And he, he's so brilliant. He's so fucking American. He was like, that, that is what we want. Do that. And I was like, well, okay. Again, it's so different to like, no, I think directors over here would be like, lovely. We'll think about it. He was up out of his chair like, fuck yeah, you go girl. I love him. I literally love him.

[26:46] Whoever thought about getting him to direct this is literally a genius. He's like, he's big Broadway that you want for this. You want that. Unreal. Also, the way that he sees a production as like the bigger picture, his overview of the whole thing. It's like he constantly has a bird's eye view of what the thing is. And I've never known anyone that has such a like, creative visual eye. It's been so cool just to be around all of these people working, doing their thing. It's been amazing.

[27:10] Georgina Castle: Could you tell people the story of about the Regina costume that you wear that is slightly different to Broadway? Because that's got a very, that comes from a very special and rather camp place, right?

[27:20] Yeah, it really does. I mean, I love that costume. So I think they wanted to make the Regina costume more like Renee Rapp's one in the movie. So she's more of an ice queen. So I'm actually in a drag queen sort of all in one latex bejeweled outfit. I've never tried to describe it before. It's like a sparkly latex, all in one leotard with like all these jewels over it. And it's amazing. But it's, it's designed for, for a drag queen. So when I first put it on, it was a little sparse around the sort of boob and the crotch area. And I was like, guys and gals, I love it. I want to wear it. I just need a few more jewels around certain areas. And then, and then we're good to go. Let's do it.

[27:55] But it also feels so Regina. It doesn't feel alien at all. It's like, yeah, she would so wear that to that party.

[28:01] Yeah. And also, I love that it's sort of not even really a thing. She's not really dressed as anything. She's just put on something that she feels fucking great in. She doesn't care. She's like, I don't know. I don't care what the theme is. I'm just going to wear whatever I want to wear. And I love that.

[28:10] I think because I've liked so many videos of you just usually singing World Burn on my Instagram at like what's on stage and whatever, that my TikTok feed like feeds me videos of you now and again. I'm like, oh, there she is belting stupidly high. There she is again.

[27:47] William J Connolly: Welcome back to eleven. Today, I am thrilled to be joined by Georgina Castle, who is currently starring as Regina George in Mean Girls: The Musical. Georgina, how are you?

[28:17] Georgina Castle: I'm great, thank you! It's so lovely to be here.

[28:24] William J Connolly: So, let's dive right in. You are the original Regina George in London. What has that experience been like for you?

[28:32] Georgina Castle: It's been absolutely incredible. I mean, stepping into the shoes of such an iconic character is both thrilling and a bit daunting. Regina is such a complex character, and I love exploring her layers every night on stage.

[28:39] William J Connolly: I can imagine! Regina is known for being quite the mean girl. How do you approach playing someone who is so unapologetically fierce?

[28:49] Georgina Castle: I think the key is to lean into that fierceness while also finding the humanity in her. Yes, she's mean, but there's a reason for that. I try to show her vulnerabilities and insecurities, which makes her more relatable.

[28:59] William J Connolly: That makes a lot of sense. And what about the music? The songs in Mean Girls are so catchy. Do you have a favorite number to perform?

[29:09] Georgina Castle: Oh, definitely! "World Burn" is such a powerful moment in the show. It’s where Regina really lets loose, and I love the energy it brings. Plus, the choreography is just so much fun!

[29:19] William J Connolly: I can see that! And I’ve heard that you’ve taken some notes from Tina Fey herself. What was that experience like?

[29:29] Georgina Castle: It was surreal! Tina is such a legend, and getting her feedback was invaluable. She has such a unique perspective on comedy, and it really helped me find the right balance for Regina.

[29:39] William J Connolly: That's amazing! And speaking of comedy, how do you keep the humor alive in such a high-stakes character?

[29:49] Georgina Castle: I think it’s all about timing and delivery. Regina has some of the funniest lines, and I try to play them with a sense of confidence that makes them land even better.

[29:59] William J Connolly: Absolutely! Now, I’ve also heard you mention that the real love story of Mean Girls might actually be between Regina and Janis. Can you elaborate on that?

[30:09] Georgina Castle: Yes! I think there’s a really interesting dynamic between Regina and Janis. They both have their own struggles and insecurities, and their relationship is so layered. It’s fascinating to explore that connection on stage.

[30:19] William J Connolly: That’s such a unique perspective! It’s always interesting to see how different characters can have these unexpected relationships.

[30:29] Georgina Castle: Exactly! And it adds depth to the story, showing that even the meanest characters have complex relationships.

[30:39] William J Connolly: I love that. Now, as you continue your run in Mean Girls, what are you most looking forward to in the coming performances?

[30:49] Georgina Castle: I’m really looking forward to continuing to grow into the role and finding new moments in each performance. Every audience is different, and that energy really influences how I approach each show.

[30:59] William J Connolly: That’s such a great mindset to have! It must keep things fresh and exciting for you.

[31:09] Georgina Castle: Absolutely! It’s one of the best parts of live theatre.

[31:19] William J Connolly: Well, Georgina, thank you so much for joining me today. It’s been a pleasure chatting with you about your journey as Regina George.

[31:29] Georgina Castle: Thank you for having me! It’s been wonderful to share my experiences.

[31:39] William J Connolly: And to our listeners, make sure to catch Georgina in Mean Girls: The Musical in London. You won’t want to miss it!