Bursting onto a London stage after multiple sell-out runs in Australia, Fangirls is making its mark at the Lyric Hammersmith, bringing the power of the teenage girl. What do you do when the overwhelming desire to meet your idol becomes more important than literally anything else in the world? Whatever it takes, of course.
Harry is the lead singer in the biggest boyband out there, which comes with subsequent adoration from millions, each believing their love is life-changing. When the group adds a Sydney tour date, it's impossible to resist trying to grab his attention at the gig. With wonderfully suited and inclusive casting, Jasmine Elcock takes on the lead as Edna, with Miracle Chance playing the subordinate friend, Brianna, and Mary Malone as the hilariously sharp Jules. Hair-tossing, attention-loving Harry (Thomas Grant) encapsulates the role of the icon in style, embellished in eye-catching outfits and performing as if there were a sea of excitable fangirls before him. Debbie Kurup does a wonderful job as Caroline, Edna's mum: the character development is nicely presented as she journeys through the task of shifting her mindset, alongside Edna's, to better their relationship and understanding of one another. With the constant buzz of the script, there is little room for bouts of significant emotion, so this is a sweet touch. Making sure to show off those riffs in style, Gracie McGonigal (as Lucy) provides some particularly special vocals in conjunction with the company. As Salty - his fanfiction username - Terique Jarrett's audaciously funny personality is great in the mix.
Claiming to be a musical with a concert atmosphere, the show uses an interesting blend to achieve this. While the concept is fresh and engaging to some, the piece is reminiscent of other popular musicals - combining the feel of Dear Evan Hansen, Heathers and Six, for example, thus best suiting audiences who would enjoy these. The projections and lack of set pieces allow for movement which keeps the pace engaging, but are not always in favour of being transportive scenery. Seeming a parody in moments, there's occasionally an unclear motive as to whether it is intended to act as a mockery of the slightly cringy action or add to it. However, quick lines of genuine humour are dotted about for a lighthearted effect that gives an enjoyably camp, sassy and energetic aura which fits with the engaging vibrancy that is regularly displayed. Bold, bright lighting, designed by Jessica Hung Han Yun, is an essential component with a notably impressive impact. Many of the tracks (with the music and lyrics, as well as the book, concocted by Yve Blake) are vivacious and dynamic, with creative lyrics to complement the energy of Ebony Williams' choreography and Paige Rattray's direction.
The beginning of Act 2 aims to ramp up the audience involvement a little to make that connection between the stage and the seats. While adding a bit of fun, it's unsure as to how much this brings, particularly given the wild plot that follows, possibly dragging out a tad longer than necessary. Despite this, a more defined picture of the show's purpose comes to light: a call to arms for lost young girls seeking community through their fanbase. Trying to shift the idea that this obsession is ludicrousy, the message offers more of a solidarity approach. This revolutionary experience exudes unity, but the notions of mental health struggles, competition and exclusion - often rife in teen school years - are apparent too.
For those of which Fangirls appeals, it's clear to be an instant hit. However, attributes that direct the piece towards a younger audience means it may lack for others outside this bracket who would find a less chaotic and flashy, more sophisticated show better to provide more depth. One idea is for certain though: never underestimate a fangirl.
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