Review of Sunny Afternoon at Milton Keynes Theatre

Sunny Afternoon, the Kinks-inspired jukebox musical, debuted on stage in 2014. Featuring Ray Davies' music and a book by Joe Penhall, it first found success in London before a UK tour in 2016/17. Now arriving at Milton Keynes Theatre with a new 2025/6 tour, the question remains: with some songs now over 60 years old, is Sunny Afternoon still relevant to today's audiences?

While this is a jukebox musical, this show follows, via this system, the story of the formation and eventual success of The Kinks rather than creating a random story from the songs. Opening with the band The Ravens, the group is safe and sophisticated, with their prim-and-proper lead singer. However, the true band of the future, Ray Davies, Dave Davies, Mick Avory and Pete Quaife, are itching for freedom, to break away, especially writer Ray, who wants to create songs that mean something to people. Enter the suits of management, and the rocky creation of The Kinks begins.

I had the pleasure of seeing Sunny Afternoon nine years ago on a previous tour, and the show instantly moved into my top five musicals. Now on its brand new tour, still under the direction of Edward Hall, the production design has been tweaked a little, with, in particular, the central raised catwalk into the stalls disposed of, but the show still uses the theatre aisles vibrantly, bringing the audience into the joy, yes, immense joy, that Sunny Afternoon brings to theatres.

The cast is top-notch, led by Danny Horn’s intense, layered Ray. Horn masterfully balances simmering rage and musical talent. His dynamic with Oliver Hoare, who plays the lively, impulsive Dave, injects a vibrant spark into the show.

Harry Curley is a brilliant, wimpish Pete Quaife, the bassist with amazing talent, but an awkwardness that makes him hate the success the band begins to find. Completing the group is drummer Mick Avory, played by Zakarie Stokes in his professional stage debut; his talent and confidence are excellent, and his performance of the show's amazing drumming solo rightfully stops the show with applause.

The rest of the cast bring a vibrant, deep energy to the show, with the suits brilliantly realised once again through the show's amazing comedic approach. Tam Williams steals many a scene as the nasal Grenville Collins, but all the suits are excellent, brought into Adam Cooper’s choreography to endless amusement while maintaining their businessman style. Lisa Wright is an emotional anchor within the show as Rasa, Ray’s wife and brings the emotional vocal high point in her solo of I Go To Sleep. Simply a beautiful song.

Musically, obviously, the show is a catalogue of magnificence as a show with The Kinks' music should be. Perhaps, technically, the lyrics are slightly missed at times because the music is a little high; however, this is such a minor issue in what remains a stunning show. The show is incredibly clever in its use of the songs, with no sledgehammer moments, and particularly brilliant moments include the acappella version of Days and the superb construction scene in Waterloo Sunset.

Sunny Afternoon remains twelve years after its first staging, an incredible show put together with obvious love by writers Ray Davies and book by Joe Penhall. After thirteen years of reviewing shows, it still holds a place in my top five musicals and remains the very best jukebox musical I have seen. If you have a love of theatre, musicals, The Kinks, or life, you should see Sunny Afternoon.

Sunny Afternoon is the very best the world of jukebox musical theatre has to offer.
⭐⭐⭐⭐⭐

Performance reviewed: Tuesday 24th March, 2026 at the Milton Keynes Theatre, Milton Keynes.

Sunny Afternoon runs at Milton Keynes Theatre until Saturday, 28th March 2026.

For further details about Milton Keynes, see their website at http://www.atgtickets.com/venues/milton-keynes-theatre/

For further details of the tour, see the website at https://www.thekinksmusical.com/

Photographs: Manuel Harlan

Review of Lord of the Dance at Milton Keynes Theatre

On what was so far the hottest day of the year, and the highest in many a record book, it feels a tad evil to watch as a group of extremely talented performers bring to the stage one of the most famous and most energetic dance shows to tour. However, arriving now at Milton Keynes Theatre, as part of what is now the still rather immodestly titled 30 Years of Standing Ovations tour, Lord of the Dance remains full of energy even on the hottest of evenings in Milton Keynes. I last and first saw Lord of the Dance as part of the 25 Years of Standing Ovations tour, four years ago (yes, the sums don’t quite work), and it was every bit as spectacular as you could imagine this world-famous dance show is. Born into the world from Michael Flatley and the Riverdance spectacular that preceded it, Lord of the Dance is a simple but effective battle between good and evil and the resolution of it through dance rather than fighting. The dancing here is, as expected, exceptional, led by the Lord of the...

Review of Sweeney Todd: The Demon Barber of Fleet Street at Birmingham Rep

Sweeney Todd: The Demon Barber of Fleet Street first appeared in this musical form in 1979. Adapted from an original play by Christopher Bond, the work was set to music and lyrics by Stephen Sondheim, with a book by Hugh Wheeler. It quickly became a huge success, opening on both Broadway and the West End within a year. Following Tony and Olivier wins, the show has seen revival after revival over the years, as well as a musical film starring Johnny Depp. Now, Birmingham Rep presents its own pared-back version of the show, featuring some big stars of the theatre world. So, the question is, is Sweeney Todd as razor-sharp as it once was? What is clear to all at the outset is that director Joe Murphy, also artistic director at Birmingham Rep, has assembled a remarkable and bold cast for the show. Leading as Sweeney is Ramin Karimloo, whose bio speaks for itself and is the biggest draw for this show, especially for theatres outside London. His Sweeney is a perfectly brooding affair, broken...

Review of Annie at Milton Keynes Theatre

Annie was first performed now a remarkable fifty years ago at Goodspeed Opera House in Connecticut, and since then, the tale based on a 1920s comic strip and adapted for the stage by Thomas Meehan on book, with music by Charles Strouse, and lyrics provided by Martin Charnin, has become a perennial favourite across the world. Indeed, this version, directed by Nikolai Foster, last appeared at Milton Keynes Theatre in 2023. So, after all these years, does Annie still have that appeal? Set in 1930s New York during the Great Depression, Annie follows the life of an orphan abandoned to the care of its evil matron, Miss Hannigan. Annie seeks escape, and after one failed attempt, she finds herself the chosen Christmas guest of billionaire Oliver Warbucks, and things slowly, hopefully begin to improve for the little but fiercely strong Annie. Leading the adult cast for this tour now as the cruel Miss Hannigan is Claire Sweeney. Sweeney clearly revels in the chance to embr...

A Small Mind At The Theatre

Search This Blog