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Sunny Afternoon review: a heady celebration of the Kinks and Ray Davies Sunny Afternoon review: a heady celebration of the Kinks and Ray Davies
(about 21 hours later)
All musicals need a moment of ecstasy. It comes here, in this dazzling bio-show about Ray Davies and the Kinks, when the faintly languorous title song is turned into a celebration of England’s World Cup victory in 1966. As the song weaves its magic and red-white-and-blue petals cascade from the roof, the theatre is suddenly flooded with a sense of recollected happiness.All musicals need a moment of ecstasy. It comes here, in this dazzling bio-show about Ray Davies and the Kinks, when the faintly languorous title song is turned into a celebration of England’s World Cup victory in 1966. As the song weaves its magic and red-white-and-blue petals cascade from the roof, the theatre is suddenly flooded with a sense of recollected happiness.
As someone who cocked only half an ear to the Kinks in the 1960sand who missed the show’s premiere at Hampstead in April, I was taken aback by the richness of the songs. But the ingenuity of Joe Penhall’s book lies in the way it uses those songs to chart the ups-and-downs of four working-class boys from Muswell Hill who brought a new note of ironic wistfulness to English popular music.As someone who cocked only half an ear to the Kinks in the 1960sand who missed the show’s premiere at Hampstead in April, I was taken aback by the richness of the songs. But the ingenuity of Joe Penhall’s book lies in the way it uses those songs to chart the ups-and-downs of four working-class boys from Muswell Hill who brought a new note of ironic wistfulness to English popular music.
Even at their chirpiest, the songs contain an undertow of melancholic solitude. But Penhall also shows how the most delicate on-stage harmonies were accompanined by deep personal disharmonies, with Ray constantly at war with his madcap brother, Dave, or the band engaged in battles with exploitative middle-men or American unions.Even at their chirpiest, the songs contain an undertow of melancholic solitude. But Penhall also shows how the most delicate on-stage harmonies were accompanined by deep personal disharmonies, with Ray constantly at war with his madcap brother, Dave, or the band engaged in battles with exploitative middle-men or American unions.
Edward Hall’s joyous production neatly allows the songs to grow out of the story and the cast is first-rate. John Dagleish , who actually resembles an elongated John Lennon, perfectly captures Ray Davies’s mix of bloody-mindnedness and innocence while George Maguire, swinging from a chandelier in a pink frock, embodies brother Dave’s wildness. Lillie Flynn as Ray’s wife, Rasa, and Philip Bird as an overpowering Allen Klein also impress in a versatile ensemble that zips easily between acting and playing instruments.Edward Hall’s joyous production neatly allows the songs to grow out of the story and the cast is first-rate. John Dagleish , who actually resembles an elongated John Lennon, perfectly captures Ray Davies’s mix of bloody-mindnedness and innocence while George Maguire, swinging from a chandelier in a pink frock, embodies brother Dave’s wildness. Lillie Flynn as Ray’s wife, Rasa, and Philip Bird as an overpowering Allen Klein also impress in a versatile ensemble that zips easily between acting and playing instruments.
At close to three hours, the show is on the long side but it offers a heady celebration of a quintessentially English talent. At close to three hours, the show is on the long side but it offers a heady celebration of a quintessentially English talent.
Until 31 January. Box office: 0844 871 7627. • Until 23 May 2015. Box office: 0844 871 7627.
• Lyn Gardner: Ray Davies musical is hardly rock’n’roll
• This review was amended on 29 October 2014. An earlier version of the end note said that the show would run until 31 January. It is now booking until 23 May.