Due to my confusion over ‘60s summertime hits I had the vague idea this was a musical celebrating the life and work of Mungo Jerry. Luckily it turns out that Sunny Afternoon is actually based on the far superior back catalogue of the Kinks.
With as much energy as I’ve perhaps seen on one stage the show takes us on a journey from working-class Muswell Hill to the group’s concert in Madison Square Gardens. It’s a great story of the vicissitudes of rock’n’roll with Joe Penhall’s book confidently balancing the showbiz melodrama with the emotional damage that constant touring can inflict. Two magnetic leads, a brilliantly designed set, some truly classic songs given barnstorming performances and a riot of costume changes make Sunny Afternoon a thrilling musical experience.
We start off when the group were known as the Ravens, playing backing for posh crooner Robert Wace (Joseph Richardson) who fills his club with stockbrokers and debutantes. In the middle of his embarrassingly staid gyrations his band kick out the jams and play I Gotta Move and thus the Kinks are born. Wace and fellow posho Grenville Collins (Tomm Coles) become the band’s managers at rates very favourable to themselves. In fact this seems to be a recurring problem the Kinks have to continually face: from managers to American unions everyone seems to be squeezing them for as much cash as possible.
As important as the music is the central relationship between the two brothers. Ryan O’Donnell is spellbinding as Ray Davies, suggesting a soulful genius who perhaps even thinks in song. Mark Newnham gives us a mischievous, dandified and slightly camp Dave, at times coming across like a prototypical Pete Shelley. While it’s Ray who gets burned out by touring and has some kind of breakdown, it’s Dave who will wander home in a slinky black cocktail dress, the result of a drunken swap at some party. Sunny Afternoon presents the tumultuous relationship the two brothers had and artfully condenses it as they sing Long Way from Home to each other – at first with some rancour, but it movingly ends in an embrace. There’s also sterling support from Michael Warburton as their avuncular yet ruthless manager, Robert Took as the boys’ father and Richard Hurst as yet another manager – and former teen sensation – Larry Page.
The songs are presented with a thrilling vibrancy which sometimes makes you feel you’re at a concert rather than the theatre. Early on the band play You Really Got Me in the Top of the Pops studio whilst dolly birds dance in Op art mini skirts – it feels so authentic it’s pretty much like time travel. The ballads are handled equally well; there’s a beautiful a capella version of Days and O’Donnell’s version of Too Much on My Mind – on the quieter songs he sounds so much like Ray Davies it’s uncanny – will bring a lump to the throat.
One word of advice: toward the end of the evening me and my companion were getting tense as it seemed the show was going to end without a performance of Lola. Don’t worry as the song which is perhaps the Kinks’ finest makes the perfect close to the evening in a wonderfully spirited version.
Continues until Saturday, December 31
For more information and tickets click here.