Sunny Afternoon - musical review

As genre-defining artists of the 60s, revolutionising the British music scene, The Kinks brought their unique rock sound to the world. Now, their vibe appears underrated in most modern households, sadly no longer being the revered name they once were as times have faded away. In this age, it seems more appropriate than ever to transform our listening habits back towards the good old tunes.

Ever since their youth, Ray and Dave Davies - played by Danny Horn and Oliver Hoare respectively - have had the urge to make music running through their veins. Forming a quartet alongside Pete Quaife (Harry Curley) on bass and Mick Avory (Zakarie Stokes) on drums, they notably originated as The Ravens. From bedroom rehearsals to birthday parties, then a couple of flopped releases, the boys aspired for more than was coming their way. However, an unwanted rebrand and whirlwind soar to fame quickly posed the realisation that it may not be the life that suits the working class lads who want to keep their own identity at the core of their work.

Immersing audiences in their creative process, it's fascinating to know that Ray formulated each piece with such craft that led to him having a very particular vision for every song he wrote. By slashing through an amp with his brother, Dave, to produce the perfect, jagged yet powerful riff for their first hit, 'You Really Got Me', is a solid example of this in action. Whether it be about counting sheep, London fashion, or getting 'birds', the embodiment of timely social commentry and consisted drive to make each track a punchy statement is clear in their art. Where the financial corruption in the industry is highlighted, and division of power brought to light, we wholeheartedly root for the band to gain the success they deserve, against all odds.

On their rugged journey through the years, The Kinks undoubtedly had numerous sacrifices, peaks and troughs in their career, many of which it's unlikely we would know without engrossing in Sunny Afternoon. Jukebox musicals - of autobiographical nature in particular - seem to often receive a mixed reception. However, with the mind of Ray Davies providing significant input on his story, this becomes a particularly fascinating reflection. Featuring its namesake song, as well as 'All Day and All of the Night', 'A Well-Respected Man' and the beautiful 'Waterloo Sunset', this is a cultural window to escape back six decades to a simpler time (or so it may have seemed). Throughout, some amazingly talented musicianship is displayed across a vast array of instruments to be enjoyed. Despite 'Lola' being one of their biggest hits, the show has enough to cover before reaching the 70s and its release, thus making it a fun way to close, though disappointingly avoiding the portrayal of the event providing inspiration behind its renowned lyrics.

While not offering much in the way of set changes, Miriam Buether's initial visualisation of lights, speakers, and instruments gives the instant impression of seeing the making of future rockstars. The dynamic characterisation and the way each individual fits into the narrative works well for those at its core, though the understanding of who's who in the way of band management begins to feel a little unclear once the boys begrudgingly tour together. The staging as a whole, with Edward Hall's direction, remains largely engaging, supported by the story invitingly interrupted by the next gem of genius by Ray.

In all, Sunny Afternoon is a wonderful opportunity to embrace the timecapsule that brings ample insight into a band that became foundational musicians though their authenticity. With the returned popularity of vinyl, it's time to introduce the next generation to the songs of the greats, including that of The Kinks.