Sunny Afternoon
If ever there were a show that makes you want to walk out humming, air-guitaring, and suddenly feeling very British, Sunny Afternoon is it. This Olivier Award–winning musical may not convert the uninitiated, but for those willing to tune in, it delivers an evening of energetic, thrilling theatre.
Sunny Afternoon has music and lyrics by Ray Davies and a book by Joe Penhall and dynamically depicts the rise of one of the most influential (and perhaps underrated) bands in UK’s history. The Kinks’ jukebox musical has blown into Alexandra Palace like a bracing north London breeze and leaves behind a warm glow of Brit-pop nostalgia, ringing ears, and the overwhelming urge to revisit The Kinks’ back catalogue.
Musically, the show is in excellent shape. The harmonies are breath-taking, beautifully balanced and rich, while the vocals are consistently strong throughout, capturing both the grit and lyricism that define The Kinks’ sound. During this touring production, directed by Edward Hall (Downton Abbey) there are wild moments of pure intensity that feel closer to a live gig than a traditional musical, so much so that you half-expect the ghost of 1960s Muswell Hill to materialise and start a mosh pit.
The choreography by Adam Cooper is a standout, bringing pace, invention and an added layer of creativity to the storytelling. The moves are sharp, bold and used by the ensemble to keep the energy fizzing even in quieter moments. From unexpected tap dancing to chandelier swinging, the playful edge of well-orchestrated anarchy is very much welcomed.
The acting is strong throughout, with the leads in particular delivering performances packed with nuance, swagger, and emotional punch. The brotherly tension at the heart of the story crackles convincingly. With the commendable cast, consisting of Danny Horn as Ray Davies, Oliver Hoare as Dave Davies, Harry Curley as Peter Quaife and Zakarie Stokes as Mick Avory, we are treated to flawless acting and realistic mannerisms from the music men dominating the swinging sixties.
The talented cast, ensemble and band each rock an array of instruments to Kinks’ classics such as Lola, Waterloo Sunset, You Really Got Me as well as the musical's title song Sunny Afternoon.
However, even a sunny afternoon has the odd cloud and so it’s not too surprising that there are possible improvements to be made. The show has a slow start, and some early scenes feel slightly flat or unnecessary, briefly dulling the momentum. The sound was also unbalanced in parts, fluctuating between blasting too loud and not quite loud enough to pass the stalls.
This is also undeniably a niche show and if you don’t care for British rock history, strained sibling dynamics, or slick guitar licks, this may not convert you. But for its devoted fan base, and anyone with even a passing affection for British music history, it absolutely hits the right notes.
A little history lesson for those new to the gig: Sunny Afternoon first premiered at Hampstead Theatre before transferring to the West End, where it scooped the Olivier Award for Best New Musical. This touring revival proves it still has plenty of mileage left in it and, judging by the reaction at Alexandra Palace, its future looks bright. Possibly sunny, even.
Sunny Afternoon may begin gently, but it builds into something rousing, heartfelt, and thoroughly enjoyable. By the final note, you’re reminded exactly why The Kinks mattered.. and why this musical continues to strike a chord.
This show was reviewed on 16th January 2026 at Alexandra Palace Theatre, London where it runs until the 31st January 2026. Tickets available here: Sunny Afternoon < Alexandra Palace
Full tour dates here: Sunny Afternoon - The Kinks Musical | UK TOUR 2025/2026
Review written by Lauren Atkinson
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Photo credit: Manuel Harlan
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