“We’re all banged up without a bang”
Maureen Chadwick, Ann McManus and Kath Gotts’ musical adaptation of long-running TV show Bad Girls
only lasted a couple of months in the West End back in 2007 but they still managed to get out a cast recording (and a DVD too, though I’ve not been able to track that down yet). My first experience with the show was with the Union’s fringe production
earlier this year and I have to say, I really enjoyed myself.
Sadly, I don’t think this recording quite captures the joie de vivre that the show gave me. It actually highlights the randomness of Gotts’ score, both musically and dramatically. David Burt’s Jim Fenner is a case in point here – Burt plays up the devilish charisma which is his forte in suavely slick numbers like ‘Jailcraft’ and ‘The Key’ yet for all his old-school Hollywood charm, we have to buy him as the sexually predatory villain of the piece.
To be fair, that’s an extreme example but such inconsistency is indicative of Bad Girls as a whole and the songs aren’t really strong enough to stand up on their own here, switching from heartfelt spiritual to vaudeville to flat ballads. Julie Jupp and Rebecca Wheatley do their best as the Julies with comic number ‘Life of Grime’ but it doesn’t pop as it did onstage; so too with Yvonne’s glammed-up number ‘A-List’, Sally Dexter’s powerful voice deserving a better calibre of material.
But for all my head says this doesn’t work, my heart has been softened by the memories of that Union production and I can’t help but be a little seduced into this trashy life of crime – the 80s power pop of ‘The Baddest and the Best’ is pretty much the definition of guilty pleasure. Maybe one to borrow off a friend rather than buy outright.
“I really have a heart, let that be known,
I once sponsored an elephant in Sierra Leone”
I doubt anyone is turning up to WAG! The Musical expecting insightful commentary into the illusory nature of celebrity and the socio-economic impact of the WAG phenomenon on a generation of young women. But it is hard to see exactly what Tibetan writer Belvedere Pashun is trying to achieve or say. This is no indictment of the WAG lifestyle – with personal spray tan artists and eyelash suppliers credited in the programme, how could it be – and it seems like it wants to break away from the stereotypical image of these figures to show the real women within.
But it is hard to feel any vestige of sympathy or indeed empathy for any of them when everything they do pertains to received notions of WAGdom. The tottering around in sky-high heels, the money-grabbing chase after rich men, the turning up to any event which has the label ‘celebrity’ plastered on it, sleeping with other women’s husbands, acting like a grade-A bitch when you’ve been caught sleeping other women’s husbands and still somehow getting away with it. There’s no real attempt to show that there could be anything more to a WAG than these situations and so the stereotypes end up being reinforced. Continue reading “Review: Wag! The Musical, Charing Cross”