Jocelyn Bioh’s play “School Girls; or, the African Mean Girls Play” has returned to Broadway, offering a blend of drama and humor set against the backdrop of a Ghanaian private school in 1986. The production, currently staged by the Manhattan Theatre Club, originally premiered off-Broadway nearly a decade ago and explores themes of beauty, power, and identity through the lens of a beauty pageant.

The story centers on Paulina, played by Denée Benton, the dominant figure within the school who aims to secure the crown at the Miss Ghana pageant and proceed to compete internationally. Her confident hold on the social hierarchy is challenged with the arrival of Ericka, portrayed by Jasmine Amy Rogers, a new student raised in America and daughter of a prominent Ghanaian businessman. Initially indifferent toward the contest and Paulina’s reign, Ericka’s perspective shifts as she witnesses Paulina’s harsh treatment of their peers, setting the stage for a rivalry over the coveted title.

Directed by Whitney White, whose previous work includes the Tony-winning “Liberation” and Bioh’s “Jaja’s African Hair Braiding,” the production emphasizes strong ensemble performances. Supporting cast members such as Erin Morton as Nana, Jordan Rice as Mercy, Lucia Aremu as Ama, and Nia Otchere-Sarfo as Gifty contribute nuanced portrayals that highlight the complex dynamics within the group. Heather Alicia Simms appears as the school’s headmistress, who watches the escalating pageant tensions with ambivalence, while Tony winner Patina Miller takes on the role of a former Miss Ghana and current recruiter intent on selecting a winner with a “more universal and commercial look,” favoring lighter skin tones.

The play sheds light on issues of colorism and social status in Ghanaian society, alongside the universal high school motifs of rivalry and insecurity. Paulina’s attempts to undermine Ericka include manipulation and blackmail, most notably coercing Nana to steal Ericka’s file in hopes of finding damaging information. The narrative builds toward a climactic sing-off to Whitney Houston’s “The Greatest Love of All,” underscoring the competitive spirit and underlying vulnerabilities of the characters.

While some elements of the script contain humor that critics have described as relying on stereotypes or abrupt shifts in character attitudes, the performances by Benton and Rogers bring depth to their roles. Their portrayals reveal a more poignant side to the rivalry, culminating in a moment of shared empathy that exposes the characters’ hidden hardships.

Overall, “School Girls” offers a blend of sharp social commentary and teenage melodrama, anchored by compelling acting and a keen directorial eye on ensemble storytelling. The production continues to provoke reflection on the lasting impact of beauty standards and social divisions, both within Ghana and beyond.