Opening a new UK Tour at Manchester’s Palace Theatre, the Olivier Award-winning Sunny Afternoon tells the story of one of Britain’s most influential rock bands, The Kinks, charting their journey from their modest beginnings in Muswell Hill to their chaotic rise to fame during the swinging sixties. Under direction from Edward Hall and through the music of The Kinks’ frontman Ray Davies, the show explores the price of success, the strain of fame, and the fragile balance between creative ambition and personal turmoil. 

At the heart of this production is a phenomenal cast of actor-musicians who bring the world of The Kinks to life with both grit and gusto. The musicianship on display is some of the most fluid and instinctive I’ve seen on stage- seamlessly blending character work with instrumental prowess. Danny Horn is magnetic as Ray Davies, embodying his introspective genius and emotional fragility, while Oliver Hoare’s Dave Davies bursts with energy and charm as the mischievous and rebellious younger brother. Together, they create an authentic and often touching portrait of sibling rivalry and artistic tension. Lisa Wright shines as Rasa, Ray’s wife, grounding the show with warmth and humanity. Her performance is emotionally engaging, blending her acting talents seamlessly with her skills as a musician- the emotional anchor in a story that occasionally loses its footing. 

But losing its footing is something Joe Penhall’s book does a little too often. While the narrative touches on the key, if stereotypical, beats of The Kinks’ story- early struggles, breakthrough success, record label politics and personal breakdowns- it never lingers long enough to let any of these moments breathe. Scenes move briskly from one conflict to another, and while this pace keeps things lively, it also prevents the audience from forming deeper emotional connections with the characters. The writing thins, hinting at themes of identity, disillusionment and creative pressure, but rarely explores them with the depth they deserve. 

When Ray Davies’ iconic songs take centre stage, however, the production truly comes alive. Classics like You Really Got Me, Waterloo Sunset, and Days are delivered with exhilarating precision and passion. The orchestrations soar- layered with rich textures and dynamic arrangements that elevate the original recordings into something theatrically transcendent. The audience visibly perks up with each familiar riff, swept along by the sheer joy of the music. The show succeeds best when it embraces its gig-like atmosphere rather than trying too hard to be a dramatic retelling of the band’s history. Sound design from Matt McKenzie is certainly ambitious- at times, ear-splittingly loud in the first act- but this contributes to an authentic concert feel, immersing the audience in the raw energy of 1960s rock and roll. 

While Sunny Afternoon doesn’t offer much in the way of narrative originality- the familiar tale of a small band thrust into the spotlight, followed by relationship woes, self-destruction, and eventual redemption- it delivers exactly what most audiences come for: a celebration of The Kinks’ legendary back catalogue. The combination of live musicianship, active staging and nostalgic turns aplenty ensure that the night remains an entertaining one, even if the storytelling sometimes falls flat.  

In the end, the music is undeniably the highlight and it’s impossible not to be swept up in the infectious sound and spirit of The Kinks. Sunny Afternoon may not have much new to say, 11 years on from its 2014 debut, but it sings out to its audience- and that’s enough to make for an enjoyable, if somewhat forgettable, night out. 

Sunny Afternoon plays at the Palace Theatre in Manchester until Saturday 18th October. Further information and booking details can be found here.

Tickets received in exchange for an honest review. #AD

Photography by Manuel Harlan.