EdFringe Review: GIRLZ

I have seen and heard other reviewers compare Meon Productions’ Girlz to the mega-hit SIX. Reader, nothing could be further from the truth. I will probably have to dodge incoming rocks for saying this, but the songwriting here is stronger for a start. Perhaps it is not as lyrically dense, but this is a story about a manufactured pop group, not the executed queens of England, so the stakes are naturally a lot lower. Regardless, in terms of both melodic quality and production, I much prefer Girlz. (I am not a big SIX fan; can you tell? Anyway, enough about that.)

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Directed by Katy Weir, Girlz plucks its narrative from deep inside the Simon Cowell and Louis Walsh world of ruthless band building. We are introduced to the self-aggrandizing Scottish music mogul Dan Cashman—played with sleazy ambition by Lee Docherty—who establishes his philosophy that music should just be “FUN” via a very Disney-esque villain “I am” song.

The story itself may not be particularly innovative, but neither does it beggar belief. The plot largely centers around Nicky (Meggie Hughes), a solidly middle-class heroine navigating her sudden rise while worrying about leaving her sensitive indie-musician boyfriend, Adam (Tomas Baines), in the dust. Do we really need such a comfortable, middle-class focal point? Probably not, but that is a detail easily iterated back in the writing room. The show hits other predictable character beats: the bandmate with a tragic pill addiction (Tamara Tare as Alex), the rebellious lesbian (Abigail Wiltshire as Charlie), the been-there-before veteran (Daniella Mirels as Kim), and the wide-eyed innocent enthusiast (Zoe Antoniou as Jaz, rounding out the quintet).

Vocal Power and Predictable Pitfalls

Despite the familiar tropes, the performers elevate the material through individual skill and a ready, believable group chemistry. Antoniou demonstrates a great sense of comedic timing to Jaz, while Tare’s handling of Alex’s addiction subplot gives her an opportunity to showcase some truly impressive vocal depth. Mirels grounds the group with a mature, polished performance as Kim, and Wiltshire finds genuine emotional resonance in Charlie’s storyline.

They also make a very fine vocal unit, supported by Simone Mistry-Palmer’s slick, well-drilled choreography, and they possess more than enough energy to fill the stage. Most importantly, they can do that essential musical theatre ‘thing’: deliver big, hair-raising harmonies.

The music really is the best thing about the production. Their early ensemble number on finally becoming a selected unit is spine-tingling, and their debut fictional single, “Just 3 Minutes,” wouldn’t sound out of place on drivetime radio. Do we need the unexpected country music diversion that happens later on? Probably not, but it is a solid tune all the same. Safe to say, when it comes to making a pop musical, Girlz gets the most critical element completely right: the songs are cracking.

That said, there are technical and narrative hurdles to clear. For an Edinburgh run that is already at its midway point, the sound desk needs to be sharper regarding microphone fades and audio balance. On a story level, the script would benefit from more nuance. Cashman is too simplistic and predictable as a villain, and the group’s personal lives need more complexity. Enriching the emotional stakes with grittier reality rather than first-world problems would give the drama some necessary weight.

However, it is worth noting that this Edinburgh run is a 60-minute abridgement of a 100-minute full production. It is entirely possible that the missing nuance and deeper character development have simply been left on the cutting room floor. Regardless of its current, fixable, flaws, the vocal power, solid writing, and melodic hooks make Girlz a highly promising project.

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