{"id":9135,"date":"2021-04-07T22:58:16","date_gmt":"2021-04-07T20:58:16","guid":{"rendered":"https:\/\/www.l-acoustics.com\/?post_type=customer-stories&p=9135"},"modified":"2026-04-01T23:54:17","modified_gmt":"2026-04-01T21:54:17","slug":"mean-girls-the-musical","status":"publish","type":"customer-stories","link":"https:\/\/www.l-acoustics.com\/fr\/customer-stories\/mean-girls-the-musical\/","title":{"rendered":"Mean Girls the Musical"},"content":{"rendered":"\n
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Context<\/h2>\n\n\n\n
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The Team<\/h5>\n\n\n\n
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Provider<\/p>\n\n\n\n

Masque Sound<\/a><\/p>\n<\/div>\n\n\n\n

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Designer<\/p>\n\n\n\n

Brian Ronan<\/p>\n<\/div>\n\n\n\n

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L-Acoustics Services<\/p>\n\n\n\n

Show Support<\/a><\/p>\n\n\n\n

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L-Acoustics \u2018Can Sit\u2019 With the Mean Girls Musical<\/h5>\n\n\n\n

The Broadway musical production of Mean Girls<\/strong>\u00a0is the stage adaptation of Tina Fey’s 2004 film of the same name. Receiving a remarkable 12 nominations for the 72nd Annual Tony Awards, including Best Musical, Mean Girls is full of pop culture, catchy songs, and colorful scenes. Following its premiere at the National Theatre in Washington, D.C., the production officially opened in April 2018 at the August Wilson Theatre on 52nd Street in New York City.\u00a0\u00a0<\/p>\n<\/div><\/div>\n\n\n\n

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The Challenge<\/h2>\n\n\n\n

The August Wilson Theatre was a “beautiful but challenging room,” according to Sound Designer Brian Ronan. When transferring the production from D.C. to Broadway, the show’s set took up the most available space on the proscenium sides. With a relatively low ceiling, Ronan and his associate, Cody Spencer, had to be creative with the use of arrays. Due to audience sightlines and the lighting designer’s need to have appropriate angles, the arrays had to stay out of the picture.<\/p>\n<\/div><\/div>\n\n\n\n

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The Solution<\/h2>\n\n\n\n

Wanting to stay in the L-Acoustics family to maintain the sonic signature, Ronan and Spencer turned to Kiva II. Its size, weight, and rigging allowed them to stay with the array technology. By hanging multiple short arrays, they could still tap into the power of array shaping, with the last results accurately predicted in Soundvision. Masque Sound supplied all audio gear, and Ronan and his team specified and installed several LA8-powered distributed arrays across the theatre’s proscenium arch. They supplemented twin arrays of 12 Kara each with three additional hangs of V-DOSC to reinforce the sound designer’s unique mix of vocals, band, and other sonic elements. <\/p>\n\n\n\n

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System pictures<\/h5>\n\n\n\n
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\"3D<\/figure>\n\n\n\n
\"3D<\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n
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The Result<\/h2>\n\n\n\n

The overall result was a success. According to Brian Ronan, \u201cI\u2019ve heard compliments on the sound from many people, but the most important ones are from the person who wrote the show, the person who orchestrated the show, and the person who directs the show, and they\u2019ve all been very vocal and supportive.\u201d <\/p>\n\n\n\n

Project photo<\/h5>\n\n\n\n
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\"Mean<\/figure>\n<\/figure>\n\n\n\n
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I go to L-Acoustics because I feel that their systems allow human beings to still sound like human beings, only louder. The crossover technology compliments a show\u2019s vocals in a way that I don\u2019t find on most other brands and their intelligibility is second to none.<\/p>\n<\/blockquote>\n\n\n\n

Brian Ronan<\/h5>\n\n\n\n

Sound Designer<\/p>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n

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Tech Brief<\/h2>\n\n\n\n