FANGIRLS at Lyric Hammersmith Theatre (c) Manuel HarlanThe musical, ostensibly about adolescent adulation is pitched squarely at the 12-18 year old market, but manages to be a tongue-in-cheek blast which will entertain everyone who remembers enduring the perpetual melodrama of their hormone-turbulent years (or is now forced to relive that suffering through their own teenage children)!
Edna (Jasmine Elcock, whose vocal delivery seemingly channels both Tracy Chapman and Laura Mvula) is obsessed with Harry (Thomas Grant) the smouldering singer from boy band Heartbreak Nation, but discerns in his eyes a depressive sadness. When the group announce they are going to perform a gig in Sydney, Edna hatches a half-baked plan to set cute-but-sexy Harry free from the non-stop rigours of touring, so that they will be able to embark on adventures together.
Much of the casting proclaims a gender-fluidity of schoolgirls and boys, all of whom seem to have obsessive crushes set squarely in the One Direction groupies mould. Look out for maniacal Lily (Gracie McGonigal who recently impressed in The Little Big Things), online confidant Salty (Terique Jarrett) and the brash/shy schoolfriend pairing of Jules (Mary Malone) and Brianna (Miracle Chance). Meanwhile, in the absence of any fatherly influence, Edna’s long-suffering, overworked, single mum Caroline (the ever excellent Debbie Kurup) tries to encourage her lovestruck teenage daughter to focus on her scholarship studies, but always comes off as the nagging villain in songs like Don’t Exist and Brave Thing.
On a simple but busy stage, where a 3-panelled projected backdrop is used to excellent effect, the relatively daft but playful story races along, enabling everyone to make mistakes, learn life lessons, regret their behaviour and secure redemption. Other stand-out company numbers include Actually Dead in the first half and Disgusting in the second, which shine a spotlight on very real social considerations.
Directed by Paige Rattray, there is an annoyingly compelling vivaciousness about this production, which means that no matter how much you think or feel you won’t (or shouldn’t) like it, you’re sure to be drawn-in by its upbeat charm and often daft turn of events. As teenagers, we feel an overwhelming compulsion to express extremes of emotion (from hysteria to abject boredom) often within short time frames and about the same things. This show demonstrates that irrespective of how terribly important and world shattering those events seem at the time, looking back, they were simply a part of growing-up.
Lastly, (blank and you’ll miss it), a certain Ms Friedman makes a momentary video appearance as the distraught mother of Harry our kidnap victim, clearly demonstrating beyond all doubt, that this is a show which knows exactly how to send itself up. As such, this reviewer is absolutely certain it will enjoy a long and extremely successful run.
