Get Down Tonight
Walking into Charing Cross Theatre, there’s an electric hum in the air, the anticipation of something glittery, funky, and alive. The intimate space has been transformed into a disco paradise with this new jukebox musical celebrating the rise of KC and the Sunshine Band, Get Down Tonight.
The show is structured around the early years of Harry Wayne Casey (KC) set in vibrant 1970s Miami. We follow KC’s ambitions, friendships, romantic flutters and the struggle to find his musical voice when disco, funk, and R&B are colliding and evolving all around him. There are four friends at the core, whose dynamics offer both conflict and support, enough to give texture beyond the music.
At the centre is Ross Harmon as Harry, who commands the stage with effortless charm. Harmon balances star power swagger with moments of vulnerability, making Harry both an icon and a man chasing his dream. His vocal delivery is rich, but it’s his emotional clarity that anchors the show. In moments of uncertainty in the plot, Harmon lets you see KC’s internal struggle, even while the external world demands he turn up the shine.
Paige Fenlon’s Dee provides a witty and knowing counterbalance. As the character who often feels like the audience’s guide, Fenlon’s sharp timing and commanding vocals make her a standout. She layers Dee with warmth and sass, ensuring she is never just a narrative device but a presence you want more of. Adam Taylor’s Orly injects bursts of energy whenever he steps onstage. His performance has an endearing mix of playfulness and sincerity, which makes Orly’s arc feel heartfelt even when the script races through plot points.
Annabelle Terry brings emotional weight as Gina, with a voice that cuts straight through the disco haze, Terry gives Gina both sweetness and steel. Her performance grounds the musical in something real and in her more vulnerable moments, she draws the audience into the human stakes beneath all the glitter.
What works well is how the musical avoids getting bogged down in every biographical detail, it’s not exhaustive and that’s a strength. Instead of trying to chart every turn, it gives us the emotional beats, the longing, the hope, the setbacks and lets KC’s biggest hits do the talking. On the other hand, that means some moments or people from KC’s history get only a silhouette instead of the full colour they deserve. If we were to see a west end transfer or a tour, I think a rewrite might be in order. Lisa Stevens’s choreography brings crispness and flair. It dances between a crowd pleasing spectacle (the nightclub or beach party vibes) and more intimate moments (friendships, romantic tension) letting ensemble numbers explode when needed, while also pulling back to let KC breathe in his journey.
Because the show is 80 minutes with no interval, there is little room for pauses. While this keeps the momentum brisk, it also means some of the narrative, subplots and character back stories feel compressed. Some transitions between numbers felt abrupt as we shift from intimate scenes to full on disco, the emotional transitions could also use more breathing space. If you’re hoping for deep excavation of KC’s musical collaborators or behind the scenes industry struggles and a full documentary you may feel a little under served and may leave wanting more detail. The focus is more on mood, friendship, identity and the music than full historical detail.
The numbers are many (over twenty KC & The Sunshine Band hits) and each is staged with delicious energy. From “That’s The Way (I Like It)” to “Get Down Tonight” and “Give It Up” there are peaks of joy and theatrical musical staging. The ‘‘Sunshine Sound’’ is alive, the brass, the rhythm, the syncopation, the groove and you feel it in your chest. This is definitely where Get Down Tonight shines brightest.
This show was reviewed on the 30th September 2025 at the Charing Cross Theatre, London where it runs until the 15th November 2025. Tickets available here: Charing Cross Theatre
Review written by Sam Sadler
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Photo credit: Danny Kaan
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