Last year? Oh, I remember this one. Or more accurately, our guvnor remembers this one because he went off to review it while I was left sorting the post and trying to untangle a feather boa from the spokes of my bike.
And now? Girlz is back at the Edinburgh Fringe 2026 and apparently nobody involved believes in doing things quietly.
Girlz Returns to Edinburgh Fringe Bigger, Bolder and Ready for Round Two
By Grace Hatchell, currently wondering if becoming a girl band manager is technically a transferable skill
Now listen. Edinburgh Fringe announcements are flying around faster than leaflets outside Pleasance Courtyard right now, but every so often a show pops back up that makes me go, “Hang on a minute… I know you.”
Girlz is one of those.
Because last year our guvnor toddled off to see it, came back looking emotionally compromised and talking about “surprise Fringe hits” for three straight days. Which, in theatre reviewer language, usually means: “I expected a pleasant hour and accidentally developed feelings.” Here is the review from the boss Andrew- Review Of Girlz At Edinburgh Fringe – Theatre Village
And honestly? The show seems to have used that momentum and absolutely ran with it.
Following strong reviews and a Best Musical nomination at last year’s Fringe, Girlz is returning for Edinburgh Fringe 2026 with a bigger production, a larger venue, and what sounds suspiciously like even more emotional chaos packed into 65 minutes.
This time the musical lands at Gilded Balloon Patter House in the Doonstairs venue, which seats 160 audience members. Which means more people can collectively gasp, laugh, cry and pretend they are “just resting their eyes” during the emotional songs.
The story follows a brand-new girl band, a hotshot manager and a struggling songwriter over one chaotic year in the music industry. There’s humour, original songs, choreography, ambition, friendship, pressure and, judging by the wording of this press release, at least three emotional breakdowns waiting backstage with a headset microphone.
And honestly, there’s something quite clever about the premise. Because behind all the glitter and choreography, Girlz seems to understand something people don’t always talk about when it comes to fame and performing. Everyone sees the polished final performance. Nobody sees the panic in the dressing room five minutes earlier.
The creative team this year has had a serious glow-up too.
Direction comes from Katy Weir, whose credits include Cinderella for Northern Stage, while choreography is by Simone Mistry-Palmer, associate choreographer on the West End production of TINA – The Tina Turner Musical. Video production comes from Offie-nominated Matt Powell.
Which, translated from theatre brochure language into Grace language, means: “Oh, they’re serious serious now.”
I also love when Fringe shows return instead of disappearing into the Edinburgh fog forever. Fringe can sometimes feel like speed dating with theatre. Everyone arrives, throws glitter at you for four weeks, emotionally devastates you, then vanishes until next August. So seeing a musical come back stronger after positive word-of-mouth feels oddly lovely.
Like bumping into someone from last year’s Fringe and realising they’ve had a proper upgrade.
New haircut. Bigger venue. Better lighting. Same emotional instability.
The show previews from 5–7 August before running from 8–30 August 2026 at 2:25pm at Gilded Balloon.
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