'Sunny Afternoon' Harold Pinter Theatre *****

More often than not, current musical theatre performances have taken influences from the back catalogues of pop music artists, and the West End transfer of the Hampstead Theatre’s, ‘Sunny Afternoon’ , which conveyed the voyage of the notorious 1960s ensemble, ‘The Kinks’ was one that is truthfully outstanding, as well as reigniting the utmost quality of musical theatre. ‘Sunny Afternoon’ is set predominantly where ‘The Kinks’ began their tremendous music career, Muswell Hill, additionally, the musical explains how siblings, Ray and Dave Davies, two average lads face immense difficulties with coalescing work and family relationships. Increasingly, the show invites us to observe the troublesome attitudes that ‘The Kinks’; singularly the youngest band member, Dave cause the general public within their upsurge of popularity, in addition the misuse of alcohol and drugs. Furthermore, the atmosphere that’s surrounded by the band becomes slightly fraught as the lyrics for the songs have been conceived by Ray, Dave demands that he should have more of an input into the song writing process. However, this involvement proves disastrous at one of ‘The Kinks’ concerts, and Dave's rudeness towards the drummer, Mick Avory instils a fight, that soon ends poorly, and is their reputation is damaged somewhat. Also the pressure of the American tour demonstrates through Ray’s humongous homesickness where we see his phone conversation with his newly married wife, who has recently given birth to their first child. When he’s finally returned home, a sense of depression is apparent as he's hardly responsive with anyone who attempts to communicate with him. Joe Penhall’s narrative, of course with Ray Davies music and lyrics are phenomenal as they have constructed a musical that permits the audience to journey with ‘The Kinks’ through their triumphs and failures. One appreciated such musical numbers; “Lola”, “Sunny Afternoon”, “You Really Got Me” and “Waterloo Sunset” as they incorporate both bright and disconcerting aspects of the band, on and off stage. One found the performances by the company of “Sunny Afternoon” were delightful throughout the whole production.  John Dagleish is magnificent as the mind behind the music, Ray Davies; especially when we witness his emotional conversation with his wife as he explains his longing to return home, and to be a loving husband/father, of course he's vocal stamina was the electrifying too.  George Maguire is sublime as the rather insecure and transvestite brother, Dave Davies; specifically the moment when we see his youthful naivety at the point where he's drunkenly swinging on the chandelier in women's clothing. Adams Sopp is brilliant as the unpredictable drummer, Mick Avory, and Ned Derrington is amazing as the desensitised bassist, Peter Quaif. Edward Hall’s direction is mesmerising here as one found himself to be fully engaged throughout the show, and at certain elements, one became quite involved enthusiastically, which is exceedingly gratifying. Miriam Buether’s design is rather cool and quirky, as the concept of incorporating a catwalk in the centre of the stalls, and the decision to use masses of speakers as the scenic backdrop was particularly effective with the dramaturgy of the performance. Overall, the experience of ‘Sunny Afternoon’ was an enjoyable and riveting one. Exceptionally recommended, and you won't regret either.