Arts & Entertainment
At Chicago Shakespeare, a Rousing ‘Sunny Afternoon’ Brings the Volume — and Tender Touch — of Ray Davies and the Kinks: Review
The North American Premiere of “Sunny Afternoon” at Chicago Shakespeare tells the story of The Kinks’ iconic rise to rock ‘n’ roll fame told through their own hit songs. (Carol Rosegg)
The opening night audience of “Sunny Afternoon” stood for the last three songs — singing, dancing, even weeping. It was a joyous scene of appreciation for a cast and crew illuminated by a display of theatrical fireworks.
“Sunny Afternoon” tells the tuneful tale of the brothers Davies, Ray and Dave – bandleader and founder of The Kinks. They caught fire in 1964 with the influential hit “You Really Got Me,” but the blaze was nearly doused when they couldn’t capitalize on the British Invasion.
Imagine if at the height of their success The Beatles, The Rolling Stones and The Who could not tour the United States.
When clueless managers get teenagers to sign contracts in perpetuity, trouble ensues.
Still, The Kinks recorded a treasury of great songs, from raw rockers to wistful ballads to music hall singalongs. In their case, genius transcended misfortune.
That Kink-y brilliance is front and center in the North American debut of “Sunny Afternoon” at Chicago Shakespeare Theater. The production is a sonic and visual spectacle that revels in the delicate beauty of some songs while kicking out the jams on the raucous ones.
Whether you’ve enjoyed The Kinks for half a century or you just know the hits, this terrific take on a jukebox musical is a riveting and fun ride.
Oliver Hoare as Dave Davies swings on a chandelier in Chicago Shakespeare’s “Sunny Afternoon,” the story of The Kinks’ iconic rise to rock ‘n’ roll fame. (Carol Rosegg)
It’s a good bet that folks who love “Lola” and “All Day and All of the Night” will fall hard for “I Go to Sleep” and “This Time Tomorrow.” Bandleader and chief songwriter Sir Ray Davies gets a lot of love from the music press, yet he’s still somehow under-appreciated by the public at large.
The show reframes certain Davies songs in sharp-witted ways — “Stop Your Sobbing” during a wedding scene is funny and slightly subversive. “Days,” a song once covered by Elvis Costello, shines brightly in a stunning a cappella rendition.
The Kinks’ creative process is explored in the evolution of several songs, including the title tune and the gorgeous, subtle classic “Waterloo Sunset.” It’s surprisingly moving.
Biographical details sometimes get short shrift, and a handful of lines sound more contemporary than of-the-era, but why pick nits? The important stuff is there, most notably The Kinks’ dedication to the working class environs of north London where they grew up in a small flat with six older sisters. Ultimately, care is given to both introverted moments and extroverted ones.
It’s tough to single out individuals within the exceptional ensemble. The performers are all double or triple threats who can act, play, sing, dance and move with grace. Danny Horn and Oliver Hoare shine in the lead roles as the Davies brothers, but everyone makes an impression. Small parts are memorably characterized, and a strong trio of dancers bring ‘60s sass to the stage and anchor the company in movement.
Walls of speakers form an impressive backdrop to accurate period details, from guitars to hair styles and hep costumes. Some shows that take place in a particular era feel like actors playing dress-up; this one feels more authentic and lived in.
Director Ed Hall staged the original production on London’s West End in 2014. A year into his tenure as new artistic director at Chicago Shakespeare, he seems to be the ideal person to fill the big shoes left when founder Barbara Gaines retired two years ago.
If you’re looking to feel a bit of sunshine, “Sunny Afternoon” hits the top of the pops. The production runs through April 27.
Marc Vitali is the JCS Fund of the DuPage Foundation Arts Correspondent.
