GET DOWN TONIGHT
Charing Cross Theatre
★★
“glitters with disco sparkle but dig a little deeper and it loses its shine”
KC and the Sunshine Band shaped the sound of the 70s, so it was only a matter of time before their iconic repertoire became a musical. Though like the plot of ‘Get Down Tonight’, this musical needs some help finding its groove.
Disco dancers burst onto the stage as a man in a glittery jumpsuit busts out ‘Keep It Comin’ Love’ on a keyboard. This is ‘Harry’ (KC and the Sunshine Band frontman, Harry Wayne Casey) who welcomes the audience to the story of his life – except he needs a little help making it a musical. Enter Dee and other friends who keep his tale on track despite constant interruptions, charting a life filled with love and revealing a little more about this famously enigmatic man.
Written by J. F. Lawton, the text needs work. The first half is stuffed with narrative devices that don’t advance the plot: Dee’s persistent meta-commentary on structuring a musical stalls character development, reading more like a lesson than witty critique; an ominous voice interrupts without purpose, lacking a big reveal. Key plot points are glossed over, such as Harry’s progress from recording studio stock handler to international star – we segue mid-song which I find particularly confusing. Others feel underdeveloped, such as Orly disappearing before returning in the finale, and Dee hurriedly explaining the tragic reason she won’t attend their 10-year anniversary. It aims to be a tight one-act piece, but the second half needs fleshing out; currently we end on some slightly clumsy exposition followed by a megamix which doesn’t quite rescue things. There are some beautiful moments, such as Harry and Gina’s heart wrenching rendition of ‘When You’re Alone Tonight’, but the overall impression is uneven.
Harry Wayne Casey’s iconic hits still shine, cleverly remixed to serve the story by providing both upbeat and introspective moments. That said, some are loosely woven in, such as Gina’s first song, ‘Give It Up’, and others feel confusing, such as the aforementioned ‘Please Don’t Go/I Never Thought I’d Love Again’ transition to stardom. Though happily, Casey’s score never strays too far from a hit.
Lisa Stevens’ direction and choreography bring out a lot of sparkle, unleashing an energetic cast that channels 60s and 70s soul. The liberal use of dance breathes life into the show, with high-energy choreography stealing the spotlight at times. More could be done with some moments, such as the prominently featured keys on wheels lacking an impactful reappearance; ‘Who Do You Love’ could be even more heightened, though I enjoy Gina pulling the plug.
Bretta Gerecke’s set design layers levels and can conjure locations with a single standout piece. Tom Rogers’ costumes dazzle with flirty flair, mixing hippy chic with disco glitz and even blowing Bob Mackie a kiss. Jai Morjaria’s lighting design is stunning, throwing bursts of dazzling colour in amongst iconic spotlight moments, glowing records and starry night skies. Chris Whybrow’s sound design keeps that funky horn playing but suffers from fuzzy mics and the beat dropping out at one point.
The tight-knit cast tries their hardest to bring some depth to their rather thin characters. The four leads, Ross Harmon (Harry), Adam Taylor (Orly), Annabelle Terry (Gina) and Paige Fenlon (Dee) all have cracking voices, especially Fenlon’s high belt which she sadly doesn’t get to use that often. Taylor’s Orly oozes charisma, causing a palpable spike in energy even if his accent goes off-piste. Terry’s Gina gives us naïve girl next door and heartbroken hopeful. Harmon’s Harry is charming while conveying inner conflict but, like the rest of the characters, could do with more to work with.
‘Get Down Tonight’ glitters with disco sparkle but dig a little deeper and it loses its shine. The music draws you in, but the writing pulls you out. Still, fans will enjoy the hits and a rare peek into Harry Wayne Casey’s inner world.
GET DOWN TONIGHT
Charing Cross Theatre
Reviewed on 30th September 2025
by Hannah Bothelton
Photography by Danny Kaan
Previously reviewed at this venue:
THE DAUGHTER OF TIME | ★★★ | July 2025
BEAUTIFUL WORLD CABARETS – ALFIE FRIEDMAN | ★★★★ | July 2025
STILETTO | ★★★★ | March 2025
JACK AND THE BEANSTALK: WHAT A WHOPPER! | ★★★ | November 2024
TATTOOER | ★★★ | October 2024
ONE SMALL STEP | ★★ | October 2024
MARIE CURIE | ★★★ | June 2024
BRONCO BILLY – THE MUSICAL | ★★★ | January 2024
