Follows the Little Ladies as they form, struggle for success, and deal with the predatory and manipulative side of the 1970s music business.
A trio of struggling actresses—Q, Dee, and Anna—decide to audition for the West End play Broadway Annie, a nostalgic indulgence of its director. The show flops, despite a last-ditch effort by its producer to update it and make it…
The band forms and begin rehearsals. Huggin seeks financial backing from some contacts, but very little is forthcoming. The three main characters' personal lives are explored, and the widespread disapproval they face from their boyfriends…
The Little Ladies tour pubs, clubs and dive bars of provincial Britain. The band is still raw and often fails to live up to its adopted image of no-nonsense rockers. Despite this, the girls realise that playing in front of an audience…
After touring comes to an end, little progress has been made. The girls' various affairs create significant fallout with their established partners, and a fair amount of hypocrisy on their partners' parts is exposed. Finances are all but…
Stavros agrees to take on the girls, and they sign a contract with him. Almost immediately, he changes their image to 1920s-style cabaret singers, far from their previous rock image. The girls regret the decision, but are unable to break…
Stavros decides that another radical change of image is called for: this time, a pastiche of The Andrews Sisters. The 1920s are out and the 1940s are in. He conceives of a new venue called The Blitz, which almost entirely reproduces the…
The Little Ladies continue their rise to fame, even as their lives become increasingly more at risk.
The band are on another pub tour, this time without any manager. Harry Moon, a fan and songwriter, becomes the band's new musical driving force—although now the girls are writing many of their own songs too. To make ends meet, they do a…
The newly signed Little Ladies meet with Schreiber at a terrible concept restaurant, where plans to record a single are discussed. Anna and Dee both write songs, but Dee's pop/rock song, "O.K.", is chosen over Anna's more literary effort.…
The new single is ready, and Schreiber's hype machine kicks into action. There are T-shirts, badges, caps and even a set of Little Ladies dolls. The band embark on a nationwide promotion tour by InterCity train, accompanied by various…
The single flops, and Anna tries to pin the blame on the fact that her harmonies had been redone by Dee, something that Q had not realised. Anna writes a new song, "Loose Change", and since the band 'owes' her, she is given more space to…
As Anna is drawn more toward Angel, she is also pulled toward drugs. In time, this leads to total paranoia, especially wherever Rox is concerned. Although Kitty tries to pass Rox off as a balance in the vocals, Anna sees her as a threat.…
With Anna out, Q realises that her vocals are far too weak, especially when compared to Dee and Rox. At first, she just fades into the background, but then she too decides it is time to depart. At first, Q enters a deep depression, but…
