Patina Miller, the acclaimed Tony Award-winning actress, is making her Broadway debut in a play, and it’s proving to be a landmark moment in her illustrious career. Known for her powerful performances in musicals such as Sister Act and Pippin, Miller is now gracing the stage in the Manhattan Theater Club’s production of Jocelyn Bioh’s *School Girls; Or, The African Mean Girls Play*, currently showing at the Samuel J. Friedman Theatre in New York City.
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This production marks two significant firsts for the performer. At 41, it is Miller’s inaugural role in a straight play; she has previously spent her Broadway tenure largely in the realm of musicals. Even more noteworthy is the all-female, predominantly Black ensemble she finds herself amongst. “I’ve never been in a show with just women,” Miller reveals in an exclusive interview. “We’re all so different, and everybody’s so talented.” For her, this experience resonates deeply, particularly at a time when opportunities for actresses of colour can feel scarce.
Miller acknowledges that her involvement in this production is significant, not just for her but for the themes of the narratives explored. “In this industry, sometimes it can feel like it’s either you or this,” she states. “There aren’t the same opportunities for everyone. So it’s not lost on me how special this opportunity is.” Her excitement is palpable as she adds, “The fact that I get to do this with them, it’s pretty special. I’m not going to lie. I get goosebumps.”
*School Girls; Or, The African Mean Girls Play* is set in Ghana in 1986, focusing on the students of Aburi Girls Boarding School, who are eagerly anticipating the arrival of a pageant recruiter for the Miss Ghana competition. The narrative centres around Paulina, portrayed by Denée Benton, the self-proclaimed queen of the school’s social scene. However, the status quo faces disruption with the arrival of Ericka (Jasmine Amy Rogers), a new student from America. Miller takes on the role of Eloise Amponsah, the recruiter whose presence ignites the competition that fuels the storyline.
“My character is just so full and so rich,” Miller states, expressing admiration for Bioh’s writing that portrays complex, multidimensional female characters. “There’s a lot of self-discovery happening with each of them. They all want something. And how they go about getting it is really rewarding.”
The ensemble also features Lucia Aremu, Erin Morton, Nia Otchere-Sarfo, Jordan Rice, and Heather Alicia Simms. Despite Paulina arguably being the antagonist, Miller enjoys the playful discussions she shares with Benton about the true villain of the story. “Denée and I talk about how she’s like, ‘You know you’re the real villain of the show.’ It’s like, ‘No, you’re the villain,’” Miller laughs, highlighting the complexity of their roles and relationships.
The dynamic between the characters is compelling to Miller, who observes that both Paulina and Eloise share an ambition for greater things in life. Eloise, who has seen the world outside of Ghana, experiences disappointment in her expectations. With the responsibility of selecting a pageant contestant, she sees a chance to reshape not just her future but also that of a hopeful young girl. “She comes in with so many stakes,” says Miller, referring to her character’s depth.
Although the setting is thousands of miles away and set four decades in the past, Miller believes the themes of friendship, insecurity, and the quest for acceptance are universal. “Everyone’s dealing with the same dynamics,” she reflects. The play also delves into issues such as the pressure to conform to societal expectations and the competitive nature of ambition among young women. “We also know what it’s like to not be accepted… and wanting something for yourself,” Miller adds, connecting these themes to her own experiences and to those facing young girls today.
As a mother to a nine-year-old daughter navigating her own social landscape, Miller finds the play’s subject matter particularly resonant. While she recounts her fortunate experience of avoiding bullying in her own youth, she acknowledges that her daughter is beginning to confront similar challenges. “She’s had her own little moments with bullies,” Miller shares, offering insight into the balancing act of parenting.
Though the instinct to shield her daughter remains strong, Miller understands the importance of resilience and growth that comes from facing challenges. “It’s so hard… they’re coming into their own, and there are some things that they have to go through,” she reflects, highlighting the complex journey of growing up.
Miller’s advice to her daughter is inspired by her understanding of bullying, which she believes often arises from the insecurities of the aggressor. She tells her daughter that “a bully is battling something with themselves,” a sentiment that echoes the underlying themes of *School Girls*.
Miller’s foray into this new role, working alongside an accomplished group of women, has proven to be both challenging and rewarding. “Going into it, I knew I was going to be in for a ride and in for a great ride,” she concludes, embodying the spirit of growth that defines her latest theatrical venture.
*School Girls; Or, The African Mean Girls Play* is scheduled to run until November 15, 2026, and tickets are currently available for theatre-goers eager to witness this empowering story.