The Kinks: Sunny Afternoon

Playbill for Sunny Afternoon

This month, I got the chance to see Sunny Afternoon at Chicago Shakespeare Theater, and I have to say, this jukebox musical went beyond the standard feel-good nostalgia trip I expected. It’s loud, it’s raw, it’s tender. It’s The Kinks. And if you’re a fan of rock history, biting satire, or brotherly chaos set to the tune of some of the most iconic tracks from the British Invasion, you’ll want a ticket.

Premiering in London’s West End in 2014, Sunny Afternoon follows the rise of The Kinks, one of the most iconic bands to come out of Britain's rock scene. It focuses on frontman Ray Davies and his younger brother Dave, whose volatile dynamic fueled both the music and their many fallouts. Set against the backdrop of 60s Britain, with its class tensions, mod fashion, and generational rebellion, the show doesn’t shy away from the band’s darker chapters, including the infamous U.S. ban that kept them off American stages for four crucial years during their early career.

That's right, The Kinks were actually banned from performing in the U.S. between 1965 and 1969. The official reasons were unclear, alleged misbehavior and union disputes, maybe a few flying punches, but the result was a critical blow during the height of the British Invasion, sidelining them just as The Beatles and Rolling Stones began conquering America. But that exile also helped forge The Kinks’ uniquely British identity. They turned inward, creating songs steeped in wry observations and social satire that define the heart of the musical.

What made Sunny Afternoon so compelling for me is the emotional range packed between punchy power chords and wistful ballads. One minute you're listening to the distorted guitar riff of "You Really Got Me," a song so revolutionary that Dave Davies actually shredded his amp speaker to achieve the signature fuzz sound. The next, you're swaying to "Days," a gentle, grateful goodbye song.

The musical highlights the band's hits, but each song deepens the story. "Tired of Waiting for You" captures Ray’s early disillusionment. "A Well Respected Man" and "Dedicated Follower of Fashion" poke fun at Britain’s class pretensions and the trend chasers in the mod scene. "Sunny Afternoon" itself is a sardonic protest against the tax system, coupled with a sweet melody. And then there’s "Waterloo Sunset." When it came on during the second act, I was quite spellbound. It’s Ray Davies at his most poetic: a melancholic love letter to London, fame, and fleeting connection. Juxtaposed against louder, grittier numbers like All Day and All of the Night, it truly reveals the depth of The Kinks’ catalog.

Chicago Shakespeare’s production nailed the tone; it was chaotic and kinetic when it needed to be, but also tender and introspective. The cast had dynamic chemistry, especially in their portrayal of the Davies brothers' bond and dysfunction. For all its Britishness, I think the show resonates universally. It’s about fame, family, artistry, alienation, rock and roll fantasy, and its fallout. So if you’re on the north side and curious about the band that gave us "Lola," "You Really Got Me," or "The Village Green Preservation Society," Sunny Afternoon is worth the watch.