Edinburgh Fringe 2025
Girlz
Girlz Productions
Genre: Drama, Musical Stories, New Writing
Venue: Jade Studio at Greenside @ George Street
Festival: Edinburgh Fringe
Low Down
Girlz, a new musical written and scored by Daf Hughes, spends a year in the life of a newly created girl band as the five strong ensemble struggle to establish their identity and a reputation in the cut throat, ruthless world that is the music business.
Review
Girlz, a new musical written and scored by Daf Hughes, spends a year in the life of a newly created girl band as the five strong ensemble struggle to establish their identity and at least something of a reputation in the cut throat, ruthless world that is the music business.
There’s an eclectic mix of personalities amongst the quintet, with secrets being kept from a boyfriend and about a darker past, traumas being masked through addictions, the naive belief that this life is a bed of roses and a deep thinker prepared to go their own way if necessary. Throw into the mix a wannabe singer/songwriter/record producer boyfriend and a odious caricature of the misogynistic, bullying, manipulating, hubristic manager that, sadly, is still pervasive as the 21st century rattles along and you’ve the key elements for what was a rabble-rousing hour filled with laughter, banter, dreams, heartache and tension.
Oh, and some jolly good girl band music too – catchy, singable tunes accompanied by equally slick choreography. And woven around the girl band development theme are a series of solo pieces that highlight a particular issue a band member is facing, which keeps the narrative moving forward whilst showcasing the universally strong singing voices across the cast, each of which had breadth, depth and range.
Hughes’ script is not afraid to address some serious issues either, both those that confront society in general and those specific to the music industry itself, including mental wellbeing, the vitriolic mess endemic across social media and the horrendous behaviour still exhibited by those who feel they hold all the aces in an industry where many still fear confrontation will shatter their dreams.
Acting is credible and characterisation almost universally spot on, although perhaps the role of industry mogul Colin Cashman (ably played by stand-in actor Conner Handstock), tipped over into that of a caricature pantomime baddie, which deflected attention from the egregious behaviour he inflicted on his proteges. That said, the choreography was slick and energetic and the vocals pitch perfect, with some enchanting harmonies.
If things felt a little rushed towards the end of this entertaining hour, that may be down to the editing required to squeeze the quart sized, original 90 minute version into the 60 minute pint pot that is the Fringe staple. This resulted in the touching and very tender denouement receiving scant attention and occasional plot segues that, superficially at least, appeared disjointed.
Overall though, it’s still a heart warming hour that explores fame, friendship and feminism in a way that informs and entertains. As the bloke sat next to muttered to his partner as they left, “that was a real musical”. He’s right. It was.
