Glasgow Girls @ King's Theatre, Edinburgh

In 2005, a group of 15 and 16-year-old schoolgirls at Glasgow's Drumchapel High School banded together to protest in support of their classmate, Agnesa Murselaj, an asylum seeker from Kosovo, whose family faced imminent deportation. Their campaign soon gained unprecedented traction, attracting national attention and the support of then-First Minister Jack McConnell, ultimately resulting in the Murselaj family being granted permanent leave to remain. Their story, truly a David and Goliath tale for our times, is the somewhat unlikely premise for Cora Bissett's musical Glasgow Girls. Since its debut in 2012, it seems that the show has become more relevant, and the current production, with its message of perseverance and hope in the face of seemingly insurmountable adversity, could not feel more timely in 2019.

Glasgow Girls is naturally a deeply political and profoundly intersectional piece, presenting the girls' experiences as inextricably linked not only to ethnicity but also to gender and social class. While not necessarily subtle in its approach to these ideas, the production somehow manages to avoid feeling heavy-handed or preachy, and is ultimately a vibrant and joyful piece of musical theatre. 

Evidence of the influence of the Music Hall tradition on the performance helps create levity, despite the serious subject matter. So too does the keen wit of David Greig's script, which relies heavily on Glasgow vernacular and typically Scottish self-deprecating humour, yet manages to never veer into being patronising, reductive or staid. 

The musical numbers charmingly blend disparate styles, reflecting the different cultures and ethnicities represented by group of protesters. Natasha Gilmore's choreography is similarly varied and effective, acknowledging not only the girls' heritage and identities, but also channelling the shameless bravado of the girl bands that dominated late nineties and early noughties pop culture. 

In less capable hands, Glasgow Girls could be saccharine and potentially cringe-worthy. However, the incredible energy of this performance is invigorating and saves the production from the ever-looming threat of over-sentimentality. The principal performers are universally compelling, but standout vocal performances by Shannon Swan as Jennifer, and Kara Swinney in a dual role as Scottish valedictorian-type Emma and as Iraqi refugee Roza's mother, lend the production added gravitas and emotional power. 

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Tour continues at Perth Theatre (30 Jan-3 Feb), and Eden Court, Inverness (7-9 Feb)