Sunny Afternoon won a bunch of awards when it opened to rave reviews in 2014, with fans of all ages going crazy over it (I know of someone who saw the show over 100 times). When I finally got along to see the show in the West End earlier this year, I enjoyed it a lot – but didn’t fall for it quite as hard as most other people seemed to.
I’m not sure what was different this time. Maybe it was because I was closer to the action, maybe because I knew the songs a bit better. Maybe I was just in a better mood, who knows. Anyway, whatever it was – I’m now officially a convert. In fact I’d go so far as to say this is the best jukebox musical out there (sorry, Jersey Boys fans), and certainly one of the best shows we’ve seen at the Orchard this year.
Photo credit: Kevin CumminsWritten by Joe Penhall and Ray Davies, and directed by Edward Hall, the show charts the Kinks’ often bumpy ride to stardom, and includes all the familiar hits – You Really Got Me, Dedicated Follower of Fashion, Waterloo Sunset… – and a few unfamiliar ones too, at least for those of us who weren’t around at the time. There’s an enjoyable mix of full-on 60s rock ‘n’ roll and quieter tracks like Sitting in my Hotel and This Strange Effect, including a gorgeous a cappella rendition of Days, which give the cast an opportunity to show off their incredible vocals.
But although Sunny Afternoon follows what we might call the standard formula of the jukebox musical – humble origins, rise to fame, trouble at the top, feel-good finale – the story and its characters are also sufficiently interesting in their own right to ensure the show’s appeal extends beyond fans of the band. Feuding brothers, a shotgun wedding, breakdowns, break-ups – there’s more than enough here to keep anyone entertained. It’s also unashamedly British; the Kinks were London boys through and through (and actually got banned from America at one point), and it’s difficult to watch the show without feeling at least a little bit patriotic.
Photo credit: Kevin CumminsRyan O’Donnell and Mark Newnham lead the cast as the Davies brothers: Ray, the sensitive genius songwriter, and Dave, the band’s guitar player and full-on rockstar. Their troubled relationship with each other and those around them is the main focus of the story, but not to the exclusion of the other band members; they each get their moment in the spotlight too – Andrew Gallo wows the crowd with a spectacular drum solo, while Garmon Rhys is thoroughly adorable as permanently petrified bass player Pete. They’re supported by a cast of talented and versatile actor-musicians, who swap smoothly in and out of a multitude of roles (and wigs) as managers, fans, parents and more, so it seems like there’s a lot more of them than there really are.
Sunny Afternoon is a colourful (in more ways than one) celebration of the Kinks’ legendary music. But there’s more substance to the show than a lot of jukebox musicals, and maybe that’s why it’s been such a huge hit. Or perhaps it’s just because it’s disarmingly good fun. Either way, it’s one of the best of its kind and definitely worth checking out.
Sunny Afternoon is at the Orchard Theatre until 19th November.
Following hot on the heels of last week’s The Glenn Miller Story, the Orchard Theatre in Dartford now plays host to another show about a musical legend taken way before their time. This time it’s Buddy Holly, the bespectacled 1950s rock ‘n’ roll star known for such classic hits as Peggy Sue and That’ll Be The Day, who died in a tragic plane crash at the age of just 22.
The Buddy Holly Story by Alan Janes opened in London’s West End in 1989, and since then has been seen by over 22 million people. In a format that’s become well known in recent years thanks to jukebox musicals like Jersey Boys and Sunny Afternoon, the show tells the story of Buddy Holly’s rise to fame, his whirlwind romance with his wife Maria Elena, and his final performance at the Surf Ballroom in Clear Lake, Iowa. And while it touches briefly and poignantly on the star’s tragic death alongside his friends the ‘Big Bopper’ J.P. Richardson and Ritchie Valens, the show is very much a celebration – not only of the man but also of his music, which paved the way for such legends as the Beatles, the Rolling Stones and Bob Dylan.
The 2016 tour stars Glen Joseph as Buddy Holly, sharing the role with Alex Fobbester. While he doesn’t bear much resemblance to the star physically, Joseph has a boyish charm, and his on-stage moves and imitation of Holly’s distinctive vocal style are – to my untrained eye and ear at least – pretty spot on (they also earn him an approving nod from my mum, who knows far more about it than I do). He’s a hugely talented musician too, as are all the cast, and between them they soon have the audience rocking and rolling right out of our seats.
Buddy Holly’s career lasted only a couple of years, but in that time he recorded around 50 tracks, and it’s surprising how many of these are familiar, even to those of us who weren’t around at the time. More than once I found myself singing along to the likes of Heartbeat, Everyday and Rave On, without even realising I knew the words. But the show also makes time in its soundtrack for a selection of other well-known 50s hits like Shout and Why Do Fools Fall in Love, all punctuated by the velvety tones of radio announcers across the States and beyond.
Photo credit: Johan Persson
Plenty of music there may be, but the brevity of Buddy Holly’s career means there’s not actually a huge amount of story to be told in between. Act 1 is devoted to his rise to fame with the Crickets, from their humble beginnings in Lubbock, Texas – and after teasing us halfway through in the recording studio with intros to some of their biggest hits, we finally get to enjoy the songs in full during the Act 1 finale, set at the Apollo Theatre, Harlem.
The story’s inevitable tragic conclusion is foreshadowed in Act 2 by the star’s wife begging him not to go on tour, and then delayed as long as possible by some comic banter from the Surf Ballroom MC (Matthew Quinn) and two memorable performances from the Big Bopper (Thomas Mitchells) and Ritchie Valens’ pelvis (Jordan Cunningham – the rest of him is there too, obviously, but for some reason it’s the pelvis that gets all the attention…) before the whole cast come together for the irresistible finale.
The Buddy Holly Story is both a nostalgia trip and a fitting tribute to a young man who knew what he wanted and clearly had much more to give. While the story, set and costumes may have more meaning for those who were around in the 1950s, the show and its music offer a great evening’s entertainment for anyone, of any age. And if you don’t leave singing That’ll Be The Day – well, you’re made of tougher stuff than I am.
I have no idea how it took me this long to make it to my first production by the Dartford Amateur Operatic and Dramatic Society (DAODS). But if Annie Get Your Gun is an indication of the quality I’ve been missing, I can safely say it won’t be the last.
From the exuberant opening number, There’s No Business Like Show Business, it’s obvious this is a polished production from a dedicated and talented company; in fact there’s really very little to distinguish the show from the professional standard we’re used to seeing at the Orchard.
Irving Berlin’s Annie Get Your Gun is based on the true story of Annie Oakley, a tomboy with a talent for sharpshooting, who’s discovered by Colonel Buffalo Bill and persuaded to join his travelling Wild West Show. Romance blossoms between Annie and the show’s star shooter, Frank Butler, but is threatened by their constant squabbling and professional rivalry. Can the two of them resolve their differences and live scrappily ever after?
The undeniable star of the show is Abby James, who makes her Orchard Theatre debut as Annie. With perfect comic timing and a sensational voice, she gives an energetic performance that’s more than worthy of a West End stage. Paul Farlie charms us all as the smooth-talking Frank Butler, and there are stand-out performances from Heather Upton in her first major role with DAODS, playing Annie’s nemesis Dolly Tate, and Webster Bryans in his first production with the group as knife-thrower Tommy Keeler.
One of the most impressive things about the production, which is directed by Amy Farlie, is the attention to detail. Because it’s framed as a show within a show, for instance, the set changes become part of the action, and it’s great fun to listen to the actors bicker amongst themselves as they hurry on and off the stage. The cast are obviously enjoying themselves up there, and their enthusiasm is infectious, particularly during the spectacular ensemble numbers, choreographed by Sam Eades.
The show itself is also great fun, with several familiar songs and an enjoyable story (and I don’t even like guns). It also comes with a massive helping of girl power; for all her sighing over Frank, Annie’s not willing to change who she is to be with him. And she’s definitely not about to obey…
Everything about this production – not only the performances but also the set, costumes, choreography, and the fantastic band, led by Steve Trill – is of the highest standard. DAODS may be amateur by name, but don’t let that put you off going along to one of their shows. I’ll certainly be back for more.
Annie Get Your Gun has now closed, but check out the DAODS website for details of upcoming productions, including Made in Dagenham in 2017.
This week, the Orchard Theatre plays host to the Dartford Amateur Operatic and Dramatic Society (DAODS) and their production of Irving Berlin’s Annie Get Your Gun. Established in 1906, DAODS have over 200 musicals, plays and revues to their name – not to mention some pretty high profile former members, among them West End stars Lara Pulver and Rebecca Thornhill – and they’re showing no sign of slowing down any time soon.
Annie Get Your Gun, which first opened on Broadway in 1946, tells the story of Annie Oakley, the best shot around, who’s discovered by Colonel Buffalo Bill and persuaded to join his Wild West Show. She soon falls for the dashing Frank Butler, but can their romance survive when she outshines him professionally, or will his bruised ego prove too much of an obstacle?
“The show is a classic, with some of the best known numbers in the musical theatre canon, including Anything You Can Do and There’s No Business Like Show Business,” explains DAODS’ Pat Walsh. “Those who have seen our shows at the Orchard Theatre before will know to expect the highest level of production values, with a full orchestra and professional lighting and sound, as well as a cast of over 50 adults and children, who will be on stage giving it their all.”
DAODS have been performing at the Orchard Theatre since it opened in 1982. “We typically perform two shows a year: one in the spring and one in the autumn. This production of Annie Get Your Gun will be the third time we’ve staged this show, the second time we’ve performed it at the Orchard Theatre, and our 66th show at the theatre in all.
“In many ways the Orchard’s become our second home, and it gives us the opportunity to put on shows to professional standards, where we can hire professional sets and orchestra as well as lighting and sound. In the last few years we had to cut down to just one show a year at the theatre, with the others being at our own venue of Heathfields Hall. However, we’re glad to say that we’re back to our normal six-monthly cycle, with Made in Dagenham coming up in the spring and Singing in the Rain in October 2017.”
Photo credit: Amy Farlie
Made in Dagenham marks a particularly exciting time for the Society: “We’ve been incredibly fortunate to be one of the first groups in the South-East to be given the rights to perform this recent West End smash hit show,” says Pat. “It’s a really feel good show, telling the real life story of the Ford workers’ strike in 1968, and is a testament to the power of ordinary people standing up for what’s right.”
Made in Dagenham is a show that requires a large cast of all ages, and auditions to join the Society will be taking place after their current show. To find out about auditions, email daodscom@gmail.com – DAODS are always looking for new members of all levels of experience.
Book now to catch DAODS’ Annie Get Your Gun at the Orchard Theatre from 5th-8th October.
If the measure of a good show is how many people burst into song as they leave the theatre, The Sound of Music is surely well up there. Based on the true story of the Von Trapp family, Rodgers and Hammerstein’s musical is undoubtedly a classic, featuring a host of much-loved songs, a heartwarming love story, some unexpected Nazis and the world’s nicest children. What’s not to love?
Photo credit: Mark Yeoman
Set in 1930s Austria, The Sound of Music tells the story of Maria, a young woman struggling to adapt to the restrictive life of a nun, who’s sent away to live with the Von Trapp family as a governess. Charmed by the seven musically talented Von Trapp children, it’s not long before she starts to fall for their father too. All seems to be turning out well, until the Nazis turn up and try to ruin everything (as Nazis do).
Bill Kenwright’s revival stars Lucy O’Byrne, who gives a pitch perfect performance in just about every way. Maria is a role that requires a lot more vocally than just do-re-mi, and O’Byrne wastes no time in showing off the incredible range that took her all the way to the final of TV’s The Voice, along with the irresistible joie de vivre that instantly wins over both Von Trapps and audience alike.
But it’s not just the star of the show who hits the mark vocally. Rebecca Caine comes close to outshining the rest of the cast, as she brings down the curtain on both acts with her stunning rendition of Climb Every Mountain. Former Corrie star Andrew Lancel produces a charming Edelweiss, and the Von Trapp children repeatedly melt our hearts with their polished performance and beautiful harmonies.
Photo credit: Mark Yeoman
Gary McCann’s set is one of the most impressive I’ve seen at the Orchard. The story takes us back and forth more than once between Nonnberg Abbey and the Von Trapp house, with occasional trips to other locations – and the set follows suit, without ever missing a beat or compromising on either scale or detail. And these frequent set changes happen so smoothly that the audience, absorbed in the story and music, barely notices them.
Nazis aside, The Sound of Music is very much a feel-good show; it’s difficult not to walk out feeling a little bit better about life (and, let’s be honest, even the Nazis aren’t that scary, really). It’s a love story first and foremost, but there are some other themes in there too, like growing up, finding your passion in life and standing up for what you believe in, no matter what anyone else says. Also, singing is good. As are hills.
For lifelong fans of The Sound of Music, this revival is a fitting tribute. For first timers or – dare I say it – sceptics, it may just win you over. Either way, it’s a production not to be missed.
Theatre Things 