With its opening sequence, Ed Curtis’s book, based on an idea by the daughter of Faye and George Treadwell, unashamedly acknowledges its jukebox musical genre but, actually, there is rather more packed into a hectic couple of hours plus interval.
This is a mash-up of the story of Faye Treadwell—sassy, quick-tongued, groundbreaking producer—and the ever-changing line-up and battles of the international chart-topping group. Much of interest, great singing but somewhat exhausting trying to keep up. Using the device of telling her story to her daughter (Jaydah Bell-Ricketts), the history and rollercoaster ride that was the Drifters unfolds.
Carly Mercedes Dyer (WoS Best Supporting Performer in a Female Identifying Role Award 2022) is the determined Faye, with an eye for detail, ear for the stars, a voice to thrill and determination to retain legal ownership of the Drifters brand. As she often says: the Yankees are the Yankees regardless of who is or was in the team at any given time.
And the Drifters had a plethora of members over its five decades of success.
Fall-outs, wage wars, the draft and personal tragedies shuffled the group as Ben E King, Rudy Lewis, Johnny Moore, Clyde McPhatter and many more sang and shimmied to the top of the charts,
Using just four actors to play all the Drifters plus a handful of stereotypes, producers, agents, other singers and even George Treadwell is a challenge, but, thanks to exceptional talent, it works: Ashford Campbell (X Factor 2011) morphs from a sensitive, troubled and sweet-voiced Lewis (“Up On The Roof”) to a strident King (with his solo “Stand By Me” outstanding) plus others; Prince Abdullah in Disney Plus’s Aladdin Live! Tarik Frimpong’s roles include a larger-than-life obnoxious and litigious Lover Paterson and mellifluous McPhatter; Olivier Award nominee Miles Anthony Daley is omnipresent as various band members and also George Treadwell, while Daniel Haswell (Book of Mormon and Motown: The Musical) is, among others, Moore and Thrasher.
But, after a while, most of the many, many singers meld into one and the interest wanes. Peter, Paul and Mary, Nat King Cole, Bruce Forsyth, backing singers, cocktail waitresses, racist hoteliers, very British songwriters—to name but a few—pop up to add interest and comedy.
Royal Opera House’s Head of Costume Faye Fullerton’s costuming is shiny for the boys and Faye’s wealthy wardrobe is of its time(s), while the ubiquitous Anthony Ward’s set moves seamlessly from concert to hotel, office to recording studio with Andrzej Goulding’s video apposite. Jonathan Church directs a pacy piece and Dustin Conrad takes control in the pit.
But, of course, it is the hits that most have come to hear, and the sell-out audiences are not disappointed as 25 musical numbers come thick and fast complete with on-point choreography by Olivier Award-winning Karen Bruce.
Enjoyable.