North East Theatre Guide: REVIEW: Sunny Afternoon at Sunderland Empire

Sunny Afternoon

Sunderland Empire

Until Saturday 8 November 2025

The Kinks' Story Hits All the Right Notes

British band The Kinks have a wonderful back catalogue thanks to their songwriter Ray Davies. He combined the world he lived in with memorable music to produce great hits such as All Day And All Of The Night, You Really Got Me, Waterloo Sunset, Lola and Dedicated Follower of Fashion. The musical Sunny Afternoon has all of those hits wrapped up in a story of a band that refused to compromise. The resultant show is a satisfying evening of entertainment that reminds us why The Kinks remain one of Britain's most distinctive musical voices.

Jukebox musicals either follow a random story that vaguely links the songs together like Mamma Mia or Bat Out of Hell, or they tell the story of the band like in Jersey Boys or Buddy. Sunny Afternoon follows the latter model and looks at the rise in fame of The Kinks. From a band which considered themselves lucky to get a gig at a birthday party to a band playing the likes of Madison Square Gardens. The book by Joe Penhall, based upon Ray Davies' original story, shows the trouble the band often faced as it stuck to its socialist principles and refused to play the music industry game by conventional rules.

The show runs for 2¾ hours, including interval, partly down to the lack of compromise over which songs to cover. Indeed, unlike many jukebox musicals, there is little mashing up of lesser hits into medleys – here we get decent length versions of the hits. Let's face it, with this back catalogue – you should flaunt it. The musicians are on stage with musical director Michael Cullen, creating an immersive experience. The lines between a musical and a gig are sometimes blurred but that's just the nature of the beast, and it works in the show's favour.

The story begins in Muswell Hill as four lads try to be successful and make a living out of their music. Drummer Mick (Zakarie Stokes) and bassist Pete (Harry Curley) were often out of the limelight behind the Davies brothers. Ray Davies (Danny Horn) goes through life writing songs about his experiences when his brother Dave (Oliver Hoare) comes up with a distorted, loud power chord. After a few flops they now had a number one hit on their hands.

Horn and Hoare bring considerable experience to their roles, having reprised them after acclaimed runs both in the West End and at the Chicago Shakespeare Theater in the show's North American premiere. Their chemistry as the Davies brothers feels authentic, capturing both the creative spark and the fraternal tension that defined The Kinks. Incidently, Ray Davies himself has expressed his support for this cast, stating: "I'm pleased that Danny and Oliver are rejoining Sunny Afternoon after their brilliant run in Chicago and look forward to Harry and Zakarie joining the band."

Curley brings recent experience from Sing Street at the Lyric Hammersmith to his portrayal of Pete Quaife, whilst newcomer Stokes marks his professional debut as Mick Avory following training at Guildford School of Acting. Both handle their roles with assurance, bringing depth to characters who could easily have been overshadowed by the Davies brothers' drama.

The story shows how they, like many bands of the era, signed contracts that ensured the money went to many other people rather than the band themselves. Ray falls in love with Rasa (Lisa Wright) and having a young family adds additional pressure to the band dynamic. The musical doesn't shy away from the financial exploitation that was rife in the 1960s music industry, nor from the personal cost of fame. The Kinks were also pioneering in taking on the USA and they quickly faced new problems on the huge tours of the States, including a controversial ban that kept them out of America for four years.

There is the natural humour that comes from the behaviour of the brothers but there's also some tongue in cheek humour in the references to John Lennon, Keith Richards, Paul McCartney and others. The show cleverly positions The Kinks alongside their contemporaries without ever feeling like it's name-dropping for the sake of it. There is also some swearing but it isn't over the top – it feels appropriate to the characters and the era.

The action takes place on an effective set, designed by Miriam Buether, which is made up of three walls of speaker cabinets. The sound is often loud, as suits the music, thanks to Matt McKenzie's design and the lighting design by Rick Fisher adds to the gig-like atmosphere. Under Edward Hall's direction, with choreography by Adam Cooper, the production maintains energy throughout its lengthy running time.

The music in the show is strong. Accomplished musicians coupled with capable singing talent help replicate that Kinks sound – that distinctively British rock that set them apart from their peers. Some of the audience were up on their feet at the end during Lola, testament to the enduring appeal of these songs. The story works as it feels honest. Ray is a talented songwriter and described the world as he saw it well. It is as if he was writing for a musical back in the 60s, with his observational lyrics about British life translating naturally to the stage.

The narrative shows Dave as a young loose cannon, whilst Pete and Mick get fed up with the proceedings. You feel that ultimately the band is going to struggle to stay as a unit due to the pressure cooker environment it finds itself in – the constant touring, the financial pressures, and the personality clashes that inevitably arise.

Sunny Afternoon is a celebration of one of the great 60s British bands that captured the spirit of the times. Good songs and a faithful storyline add together to create an enjoyable musical evening that works both as drama and as a showcase for some of the finest pop songs ever written.

Review: Stephen Oliver

Photos: Manuel Harlan