Review of ‘Fangirls’: “Love is blind”

The award-winning Australian musical celebrates its UK premiere, in a new brand production playing at the Lyric Hammersmith until the end of August. Guillermo Nazara shares his views on the show, to let us know if in this teen-celebrity fantasy the stars have aligned.

“She’ craaaaazy.” Yeah, I know what you’re thinking. That’s such an unfair comment. After all, you’ve only liked each one of his two-year Instagram posts, sent him a thousand of still-to-be-replied (keep your hopes up, girl) messages, gone through his trash just the right amount of times (who wouldn’t in this economy, right?) and spent every night crying because that hot idol who doesn’t even know who you are hasn’t asked you to marry him yet. But sure, I a…. I mean, you are very, very sane. After all, it’s just somebody that’s meant to be admired. And with that being the case, who would ever resist such sizable attributes getting to us – or into…?

Last night, the Lyric Hammersmith took a stride down the world’s end (poetic, isn’t it?) with the UK premiere of the Australian-based musical Fangirls. A humorous comment on real-life teenage drama (*cough*) through the eyes of those who experience it first-hand, the piece makes a joyful attempt at showing society’s alleged double standards as for the way adolescents are depicted, especially when becoming a bit over-fixated (we’re talking “make me a child” level) with their next Nickelodeon pop sensation. And which better way to prove us wrong than through the hardships of a 14-year-old, whose generosity and awareness of people’s true issues leads her to plot a kidnapping scheme, just because she can’t attend his celebrity sweetheart’s (and don’t you dare question it) concert? Gee – to think I was about to lobotomise her…

Alright – maybe that joke got a bit out of hand. I guess I was not… in my right mind… Nothing? Very well, then. But no matter how gentle you want to go (you sissy non-brain-butchering scaredy-cat), it can’t be denied that some thorough tweaking throughout this show would be, to put it mildly, probably more than opportune. Written by Yve Blake (whose credit also endorses music and lyrics), Fangirls presents itself as an ironic look not only on the struggles that pre-adults face (many times, in complete solitude), but also the judgmental temperament that the rest of the population professes towards them.

Delivered as a dark (by High School Musical standards) “mad teens” comedy packed with the most unthinkable, extreme-taken-to-the-extreme situations, the piece makes a vigorous effort at blending the entertaining qualities of its story with a more introspective side – dealing with the misunderstood needs of a young but vehemently determined heart. Worthy in intentions, the problem arises when none of the expectations of its premise (constantly mentioned, but, wistfully, never developed), even get to be acknowledged – let alone, met.

We keep hearing lines about how a star’s devotees are unjustly looked down upon as if they were delusional. Yet, we see no endeavor whatsoever at showing us how that could be a misconception. If anything, it only gives the cynics more grounds to land and, ultimately, solidify their opinions on. The fact that the score also finds difficulties at endowing their characters with any insight doesn’t help either, most unfortunately. With too many numbers in the first act exposing how much these ladies are in love with Harry (whose gorgeous “toss-toss” hair gives no doubt as for what the actual reference is), all chances to let the personages open up and, most importantly, go through a proper emotional arc are entirely overlooked.

The reason for this complication may stem from the show’s lack of individuality as for its structure. Trusting the musical theatre formula in too an excessive manner, we find ourselves listening to songs which, despite flaunting beautiful melodies, are not so indispensable for the effectiveness of the narration. Not every musical needs an “I Want” theme – or at least, not one that is done in such a blatant way which, in the end, doesn’t provide the lead with too much profundity. On the other hand, moments that could have elevated the account to something considerably more compelling and touching, such as the personal burdens of a working-class single mother trying to do her best to support her daughter, are sacrificed, and replaced by some other amusement tools which, most regrettably, are incapable of serving that purpose.

Some praise must be given, anyhow, to the montage’s engaging visuals. Featuring sets by David Fleischer, video design by Ash J Woodward and lighting by Jessica Hung Han Yun, the production operates in an absolutely flawless cadence – creating an absorbing universe that manages to drags us into from the very start, and which, despite its simplicity, is able to display a rich gallery of impressions that evenly combines its gaudiness with a inescapable atmospheric ability. In a similar way, the cast excels through their passionate commitment to the material – all of them boasting superb comedic skills and engaging presence, despite the vocals (with the exception of Gracie McGonigal’s delightful rendition) still in need of some subtle refinement.

Parting from a marvelous option holding so many possibilities, Fangirls brings up the hype with the illusion of a gripping, profound and, all in all, laugh-provoking jaunt which, nonetheless, stumbles on too many bumps to materialize. Still nearer to a rough first draft than a fully finished work, the piece exudes potential but keeps a great deal of it away from the scene by giving little to no expression to its personages and by building a tale which, at too many points, looks unhinged and, dolefully, unresolved. More character-driven numbers, comprehensive dialogue and better polished lyrics (“okay” and “space” may not be the best rhyming option) are key to hand this musical a legitimate chance to thrive, and move away from its fan-fiction vibes to eventually become a fiction about fans.

All pictures credit to Manuel Harlan.

Fangirls plays at London’s Lyric Hammersmith until 24 August. Tickets are available on the following link.

By Guillermo Nazara