Sunny Afternoon (touring) ★★★★★

With music and lyrics by iconic and original The Kinks frontman Ray Davies, a book by Joe Penhall, and direction by Edward Hall, Sunny Afternoon is an electrifying celebration of rebellion, class, and era-defining anthems. This musical of one of the most influential bands of the British Invasion is a nostalgic, moving, and thoroughly enjoyable trip through British rock history.

Hailing from Muswell Hill, ‘The Kinks’ have come home to Alexandra Palace with a story rooted in friendship, music, and the swinging soundtrack of 1960s Britain. While the narrative of a band rising to fame is familiar, and one we all know, this production feels heartfelt and deeply connected to its North London roots.

The show opens with ‘The Ravens’ performing at a high-society event, a world that sharply contrasts with their working-class beginnings. From the outset, it is clear the band reject this elite society, yet they soon realise that achieving their dreams requires navigating its rules. The Kinks’ music captured the humour, contradictions, and social realities of the time. What this musical succeeds in is choosing songs from the complete repertoire, like Dead End Street, to reflect the struggles of working-class life, while Dedicated Follower of Fashion, known for satirising the consumerism and celebrity culture of Swinging London, is used during a makeover and image-changing montage. When You Really Got Me, after being teased through a wrecked amp, finally explodes on stage; it catapults their fame, and the band’s image takes shape as they shed The Ravens’ name and embrace their iconic mod look and new risqué name, The Kinks.

Danny Horn and Oliver Hoare embody Ray and Dave Davies so convincingly that it is often hard to tell where the real musicians end and the performances begin. The acting and musical talent of the whole cast is indisputable. Their musical ability is outstanding, supported by strong performances from Harry Curley as Peter Quaife and Zakarie Stokes perfectly embodying drummer Mick Avory with excellent rhythmic ability. The entire ensemble combines sharp acting with undeniable musical talent to authentically present the band’s history and sound. Under Edward Hall’s clean and precise direction, the show moves effortlessly between intimate character moments and full-blown rock spectacle, never losing momentum.

Hoare’s Dave is a flamboyant, unpredictable presence; his wild entrances, flirtations, and excesses provide humour, chaos, and rock ’n’ roll glamour, perfectly counterbalancing Horn’s Ray, burdened by maturity and overwhelming sense of responsibility. Their relationship forms the emotional heart of the show: from playful brothers to men at breaking point. Catapulted into rock star life at such a young age, they grow in very different ways.

While Ray matures and carries the weight of family and responsibility, homesickness and frustration as the band attempts to conquer America, only to be thwarted by endless bureaucratic obstacles. Dave, infamously known as ‘Dave the Rave’, is distracted by the allure of sex and drugs, offering insight into the pressures and temptations that come with sudden fame, as the production does not shy away from the darker and lonelier sides of rock ‘n’ roll. It is in the rebuilding of their partnership that the production truly shines, as the audience finds themselves rooting for the brothers to reconnect. The actors do a marvelous job of capturing their playful rivalry, building tension, and bringing the relationship to breaking point, making the moments of reconciliation feel earned, heartfelt, and deeply satisfying. Sunny Afternoon does not shy away from the darker and lonelier sides of rock ’n’ roll. Some of the most moving moments come from the destruction and eventual rebuilding of the relationship between these brothers.

Sunny Afternoon also gives a tender spotlight to Rasa, the Bradford Lithuanian Catholic schoolgirl who famously skipped school to see the band in Sheffield and later became Ray Davies’ wife, the mother of his children, and a backing vocalist on his album. Lisa Wright brings this role to life with sincerity and playfulness, perfectly capturing what “home” means for Ray as he struggles to balance life as a husband, father, and rock star during the British Invasion. In these moments, Ray’s songs are at their most affecting. Soft, introspective ballads and duets with Rasa, such as I Go to Sleep and Tired of Waiting for You, remind him of family, friendships, and a place to belong. He is no longer hiding behind the “You Really Got Me” rock star persona that makes the girls swoon. Instead, he is a man genuinely sharing his love for his wife and home. The heartbreaking exchanges between an exhausted young single mother, Rasa, and a homesick Ray are crafted beautifully.

Alongside these emotional arcs, the musical bursts with energy through vibrant swinging ’60s dance numbers and iconic Kinks hits. The choreography, music, and costumes fully capture the style and excitement of the era, giving the audience a sense of the joy, glamour, and youthful rebellion that defined the period. These sequences balance the more introspective moments, reminding us why The Kinks’ music was not only culturally sharp but also irresistibly fun. The production bursts with swinging ’60s choreography, vibrant costumes, and infectious energy, balancing introspective moments with full-blown rock spectacle. Hall’s direction ensures the show moves effortlessly from intimate scenes to rocking gig sets and medleys.

Miriam Buether’s stage design is a highlight: the recording studio, adorned with stacks of vintage stereos, is the perfect design to move action from studio to studio as the band tours around, and the recording studio is ever present even when the stage becomes, ingeniously, a cafe, car and aeroplane.

I was lucky enough to experience the show with someone very special to me who spent most of her life in 1960s North London. I could tell she felt an immediate connection to the music and setting. She could not contain herself from singing along and bopping her shoulders, her energy finally unleashed during the finale, perfectly capturing the excitement of a live gig.

Sunny Afternoon is a joyful, well-executed, and heartwarming musical. It doesn’t shy away from the darker sides of fame, homesickness, excess, and bureaucracy, but always remains fun with the choreographed chaos and glamour of rock ’n’ roll to life. With unforgettable performances, clever staging, and the timeless Kinks catalogue, the soundtrack is a show that leaves you buzzing and singing and dancing all the way home.