Review: Sunny Afternoon (Alexandra Palace Theatre/UK Tour)
- All That Dazzles
- Jan 17
- 6 min read
Review by Daz Gale
⭐️⭐️⭐️⭐️⭐️
Jukebox musicals sometimes get a bad rep. They can be dismissed as frivolous and as nothing more than a way to guarantee bums on seats. While there can always be an element of truth to that, they can be far more eclectic than most give them credit for, with some every bit as good as some of the best original scores. What I personally love about jukebox musicals is the way they can preserve and extend the legacy of the artists and songbooks, and introduce them to entirely new generations. That was the case for me when I went to see Sunny Afternoon in the West End in 2016. Born well after their peak and growing up in a household that didn’t play their music, The Kinks were a largely unknown entity to me, but I immediately fell in love with the musical and their music - I guess you could say it really got to me. In the years since, I have continued to listen to their classic songs but haven’t had the chance to revisit this musical. Now back in London at a very appropriate theatre, would I love this touring production just as much, or would the sun set on my affection for the show?
Premiering at Hampstead Theatre in 2014, Sunny Afternoon transferred to the West End shortly after, where it enjoyed a two-year run at the Harold Pinter Theatre (a venue that very rarely hosts musicals). It is now back on its second belated tour of the UK, stopping at Alexandra Palace Theatre for a two-week run, a venue close to the neighbourhood where the Kinks grew up. Set in the 1960s, the musical charts the rise of the band as they come to terms with their growing fame, differing ideas when it comes to making music and the
Ray Davies has been heavily involved in the creation of Sunny Afternoon. As The Kinks frontman, it is his story after all, and he forms a big part of the musical. It is down to Joe Penhall to adapt this story for the stage in a way that feels coherent, ensuring it captures the spirit of The Kinks and reflects what happened in their peak, while using artistic licence to create a musical that is thrilling to watch unfold. It proves a bit of a slow burner with the first Act slightly chaotic in its approach (though a tricky start with sound levels didn’t help matters) before exploding into an exhilarating second Act that showcased the story and the music of The Kinks for all of their strengths. You could say the rocky first Act paved the way to a very different kind of rocky second Act.
Penhall’s book fills the story with heart, humour and emotion as he attempts to shed light on this group of young men from Muswell Hill. Sometimes, jukebox musicals can use a lot of artistic licence to further the story or abandon it completely to create something more exciting to watch. Sunny Afternoon manages to make the Kinks’ rise to fame compelling, amplifying what may have been some relatively small moments and getting the audience to care about them as a band and as individuals. There is a real skill to Penhall’s book, with some incredibly creative moments, particularly in the second Act, that set this show apart from its counterparts.
Where Penhall may plant the seeds in how to intersperse Ray Davies sensational music and lyrics, finding clever ways to insert these timeless songs without them feeling so obviously shoehorned in, it is in Edward Hall’s direction where the payoff of these moments is truly felt. There is a sense of organised chaos and rebellion in how to tell this story, which Hall peppers through the production. Making full use of the space, cast members frequently walk and dance through the aisles, demolishing the barrier with the audience, immersing them into the action and giving the sense of a Kinks concert, before snapping back into the story. This is best demonstrated on the showstopping title number ‘Sunny Afternoon’, exploding with life and music in a rousing, riveting and incredibly fun sequence. The versatility and complexity of how these numbers are presented is further demonstrated with a spine-tingingly beautiful acapella rendition of ‘Days’ with gorgeous harmonies demonstrating the remarkable talents of the cast.
If there is one moment that sums up why Sunny Afternoon is such an exceptional musical, it is in the slow-burning build-up to one of The Kinks’ most beloved songs ‘Waterloo Sunset’. As the number is constructed bit by bit, slowly but surely, it leads to the most incredible of payoffs when that iconic opening motif plays out. A song that has transcended the decades and is loved by countless people all over the world, there was a real emotion to watching this number thrive on stage in a testament to not only the power of The Kinks music, but music in general. On an additional note, leaving Alexandra Palace following the show to see the gorgeous view of the London skyline added another layer to ‘Waterloo Sunset’. Though it was written in another part of London, the proximity to the area where the Davies’ boys grew up and the repeated mentions to Muswell Hill and London in the musical make this sight and the emotion of the song all the more resonant.
One key aspect of the success of Sunny Afternoon is the inclusion of actor-musicians. Though the cast would have impressed purely through their acting ability, not to mention their stunning vocals, it is the musicianship they each have that adds a much-needed authenticity to the story, giving the believability factor that we are in the 1960s, watching the real Kinks. Ensuring every instrument they play gives a sound every bit as captivating as their vocals, the cast continually wows with their talents. None more so than Zakarie Stokes as The Kinks’ drummer, Mick Avory, in an extended and awe-inspiring drum solo, though Harry Curley certainly gave him a run for his money as their bassist Peter Quaife.
Oliver Hoare delivers a complex and urgent portrayal of Dave Davies, channelling the eccentricities and troubles he had with great range, coming to a head in a beautifully tender moment near the show’s climax. It is Danny Horn who rightly steals the show, though, as the Kinks’ frontman, Ray Davies. A truly gifted performer, he delivers a performance so assured that it sometimes makes you forget you are not watching the real man himself. Through mesmerising stage presence, strong vocals and a believable characterisation, Horn wows at every turn. Though scenes with his wife Rasa (wonderfully played by Lisa Wright) reveal a different side to the character, it is the dynamic that Horn has with Hoare as his brother that proves the most electric, lighting up the stage and feeling every bit as dangerous and unpredictable as the brothers’ very real relationship.
I worried I wouldn’t love Sunny Afternoon the second time around. After all, my taste in theatre has changed a lot in the last decade, and I hadn’t ever reviewed a show when I saw it in 2016, so my brain does work a bit differently than it did back then. Though it got off to a fairly slow start, the second Act proved one of the most exciting and exhilarating experiences I have had in a theatre in quite some time, ensuring I left Sunny Afternoon with a smile on my face and my heart feeling full. It is safe to say I not only loved it as much in 2026 as I did in 2016, but I might have actually loved it even more this time around. Though Alexandra Palace Theatre may not be the best venue to stage a musical like this, its relatability to the Davies’ youth made it feel appropriate and almost like a homecoming for them.
If anyone ever says jukebox musicals are a waste of space in theatre and can never be intelligent, creative or surprising, take them to Sunny Afternoon and watch them eat their words. One of the best jukebox musicals there is, it is no wonder that it won a number of Olivier awards for its West End run. It manages to somehow set itself apart from other musicals in its category with its refreshing differences, while still feeling as comforting and satisfying as all good jukebox musicals do. It may have been a rainy evening when I went to see Sunny Afternoon, but this sunny show made even the coldest of January nights feel like the summertime.
Sunny Afternoon plays at Alexandra Palace until 31st January.
It then continues its UK tour until 30th May, Select dates and tickets here
Photos by Manuel Harlan