Bad Girls the Musical

I’ll admit when I arrived at Grantham Guildhall Arts Centre last night, I had very little prior knowledge of Harrowby Singers’ latest production, Bad Girls the Musical. I’d never seen the television series on which the show is based, and my assumptions were shaped mostly by the title and reputation alone. I half expected a camp, tongue-in-cheek parody of prison drama — something light, cheeky, and knowingly over the top. What I discovered instead was something rather different: a dark and gritty portrayal of life behind bars.

Before the performance began, I had the pleasure of briefly meeting director Luke William and rehearsal musical director Len Batey, who offered a warm and friendly welcome. They spoke enthusiastically about the production and explained that the show had been rehearsed under Len’s musical direction before handing over to a different musical director, Chris Mahoney, for show week — an approach that is somewhat unusual, but one that clearly reflected the collaborative effort behind bringing the production together.

Set inside the fictional women’s prison HMP Larkhall, Bad Girls: The Musical explores the complex relationships, loyalties and struggles of women navigating survival within the prison system. Through the lives of inmates and officers alike, the show charts friendships, rivalries, corruption and resilience inside the prison walls. With such a strong premise and a show that balances hard-hitting drama with moments of dark humour and powerful music, the Harrowby Singers cast had plenty to get their teeth into, and it was the performances that ultimately brought the world of Larkhall vividly to life.

One of the central threads running through the show is the developing relationship between inmate Nikki Wade and Wing Governor Helen Stewart, played by Milly Fern Parker and Kelly Mciuk respectively. Both delivered emotional and heartfelt performances, capturing the vulnerability and inner conflict of their characters with sensitivity. Vocally, the pair were well matched, each possessing strong alto voices with impressive control. Milly’s rendition of her solo One Moment was a particular highlight, performed with a palpable sense of angst and frustration that neatly conveyed the character’s emotional turmoil. Together, Milly and Kelly shared a convincing chemistry on stage, handling the gradual blossoming of Nikki and Helen’s relationship with care and subtlety.

Providing much of the show’s menace were prison bullies, Shell Dockley, and her impressionable younger sidekick, Denny Blood, played by Nicole Cutbush and Megan Woodfield. Both performers clearly relished their ‘mean girl’ roles, confidently lording it over the more vulnerable inmates and bringing a palpable sense of intimidation to their scenes. They shared a natural rapport that made their partnership feel believable, while their characterisations were detailed and grounded, striking an effective balance between threatening and darkly charismatic. Vocally, Nicole brought a distinctive country twang to her singing that suited Shell’s swaggering personality particularly well, most notably in First Lady. Megan, meanwhile, was a superb physical performer; her movement and body language added real texture to Denny’s character, and her energetic dance work stood out throughout. I was especially impressed by the inventive use of the metal bunk bed frame during Guardian Angel, which added an extra dynamic layer to the number.

Providing much of the show’s comic relief were the two Julies — Julie Johnston and Julie Saunders — played by Charlie Parker and Jenni Watson. The pair shared an excellent rapport, bouncing off one another with great comic timing and delivering their dialogue with a lively, pacey energy that kept their scenes sparkling. Their number Life of Grime was particularly enjoyable, with both performers throwing themselves into the fun choreography and delivering some wonderfully playful physical comedy. Charlie also impressed in her solo, Sorry, performed down the phone with a touching sense of sincerity; her singing moved effortlessly between tenderness and strength, bringing real emotional colour and nuance to the moment. Charlie and Jenni were also part of my favourite number of the evening, joining Yvonne Atkins for a riotously funny trio in which their attempts to seduce the hapless prison guard, Justin, descended into gleeful farce. Their exaggerated comic movement and perfectly judged timing made the sequence a genuine highlight.

Tina Williams was a standout as Yvonne Atkins, delivering a performance that positively oozed charisma from the moment she first swept on stage halfway through Act One, resplendent in a striking long red mackintosh coat. From that point on she commanded attention, giving a polished and assured portrayal that balanced confidence, sharp wit and moments of dry humour with real authority. Tina’ stage presence was formidable, effortlessly drawing focus whenever she appeared, and her performance had a controlled power that suited the formidable Yvonne perfectly. Her musical number A List was a particular joy — slick, stylish and performed with infectious energy by the whole ensemble.

Among the remaining inmates, several performances made a strong impression. Leah Dobbin gave a convincing portrayal of new arrival Rachel Hicks, capturing the character’s anxiety and vulnerability with a naturalistic touch that made her journey feel believable; she also handled Rachel’s more traumatic moments with sensitivity and control. Yvonne Hamlyn, as the eccentric Noreen Biggs, provided many of the show’s laugh-out-loud moments, leaning fully into the character’s quirks and delivering a string of outrageous one-liners. Meanwhile, Millie Walpole brought a thoughtful characterisation to the deeply religious Crystal Gordon, grounding the role in her unwavering faith and moral conviction. She opened Act Two with a superb rendition of Freedom Road, sung with a rich, gospel-influenced tone and an assured vocal technique, her controlled vibrato and expressive phrasing making it one of the most musically striking moments of the evening.

As the deeply unpleasant Jim Fenner, Matt Brown took on one of the most challenging roles in the show. Fenner is the true villain of Bad Girls, a manipulative and deeply disturbed figure whose menace lies in the abuse of his authority, and the role requires an actor to balance outward confidence with a darker, more unsettling edge. Matt delivered an accomplished performance and, as always, was engaging to watch; having both directed him and performed alongside him previously, I know the commitment he brings to his work. His singing voice remains excellent — warm, secure and consistently enjoyable to listen to. While the performance captured Fenner’s authority well, I felt the more sinister side of the character did not always come through as strongly as it might, meaning the full darkness of the role wasn’t quite realised, though Matt’s musicality and assured stage presence ensured the character still made an impact.

Charlotte King brought a memorable performance to the role of Sylvia Hollamby, Jim Fenner’s officious right-hand officer. While still an unpleasant character, Sylvia carried a more humorous edge, and Charlotte captured this perfectly, portraying her as conniving, harsh, and bullish, while leaning into the show’s playful exaggeration in a way that felt fully committed. Her work in the darkly comic musical numbers, Jailcraft and The Future Is Bright, was particularly strong, combining sharp timing with an eye for theatrical flair. During the latter number she experienced a costume malfunction, which she navigated with quick thinking and poise, maintaining the energy and humour of the performance without missing a beat.

Jack Dennis gave a solid performance as prison officer Justin Mattison, capturing the character’s awkwardness and hesitancy with a natural charm that made him endearing to watch. Tim Turner, as the imposing Number One, brought a strong, authoritative presence to the role, grounding the prison hierarchy with confidence and precision. As did the ensemble performers, who brought boundless energy and careful coordination to every scene, enriching the world of HMP Larkhall and giving the production a sense of scale and vitality. Their ensemble singing numbers, while loud and forceful, added a raucous, spirited texture to the show that perfectly matched the intensity of prison life.

The creative team behind this production truly brought energy and imagination to the show.  Choreographer Leah Knight crafted a series of excellent dance routines that both challenged the cast and delighted the audience; her work was slick, fun, and full of inventive touches. Standout moments included the clever use of wet wipes during Life of Grime, the striking deployment of truncheons in the dreamlike sequence of The Future is Bright, and the dynamic incorporation of chairs and tables throughout the show. Director Luke William should be commended for his creativity and versatility, seamlessly navigating between the spectacle of large crowd scenes and the nuance of more intimate moments. The riot scene was loud, frenetic, and visually exciting, a thrilling climax to Act One that captured the chaos and energy of the narrative. Musical direction from Len Batey and Chris Mahoney ensured that the cast’s vocal strengths shone, while Mahoney’s conducting of the seven-piece band provided a strong musical backbone that propelled the show forward. Overall, the choreography, direction, and musical guidance came together to deliver a production that was lively and packed with character.

Congratulations to Len Batey and Kevin Read for their superb prison set, which was sturdy, detailed, and provided a highly effective, realistic backdrop for the action. The clever use of trucks allowed scene changes to be slick, tight, and well timed, and stage manager, Leah Knight, and her team should be applauded for keeping everything running smoothly. Costumes by Luke William and Debbie Baker were well chosen and characterful, while props by Jennifer Stanley enriched the set and added authenticity—though the use of fake cigarettes felt awkward at times, as the actors didn’t appear entirely comfortable with them. Sound overall was good, with effects well executed, but there were moments where music levels slightly overpowered the singing, and some group numbers were a touch too loud. Adding clanging metal when barred cell doors closed, or a subtle echo on offstage voices, might have heightened the atmosphere further. Lighting design by Immy Evans Abraham and Luke William was fantastic, beautifully enhancing the mood and complementing the story at every turn.

Although the show perhaps wasn’t entirely to my personal taste, it was undeniably a great success. Congratulations and thanks are due to director and producer, Luke William, whose vision and leadership undoubtedly brought the production together so effectively, as well as to his talented creative and backstage teams, whose hard work and dedication were evident in every aspect of the show. Equally, the cast deserves praise for their energy, commitment, and enthusiasm, which kept the audience thoroughly engaged from start to finish. Thank you also to Harrowby Singers for presenting such a lively, entertaining and accomplished production—this was a real achievement for everyone involved and a thoroughly enjoyable night of theatre.

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