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

GET DOWN TONIGHT

Anyone Can Whistle

Southwark Playhouse

Reviewed – 5th April 2022

★★★★

“in a packed space, on a tiny runway stage, and with a very green excitable cast, Anyone Can Whistle hits all the right notes”

If a play hasn’t seen a main stage since its inception in the ‘60s, running for only twelve previews and nine performances before closing, what does that mean? And a Sondheim no less. Perhaps he was just so ahead of his time, the audience couldn’t appreciate his brilliance? Or, more likely, was it just not his best, the fly in the ointment of an otherwise flawless career?

Directed by Georgie Rankcom, Anyone Can Whistle is certainly an oddball of a musical. The plot is absurd and slightly over-complicated; the music is often stubbornly un-catchy, and crammed with lyrical mouthfuls; it just feels a bit messy for such behemoths as Sondheim and Laurents. But perhaps because the Southwark Playhouse’s production is necessarily smaller than a full west-end staging, the chaos feels magnified, almost guerrilla in energy, and you know what? It works.

Not wasting any time, the plot gets going from the first note. Greedy, corrupt mayoress Cora Hoover Hooper (Alex Young) is looking to make some quick cash, and her trusty sycophant Comptroller Schub (Danny Lane) has come up with a plan: Fake a miracle and sell tickets for the honour of seeing it.

It feels like Alex Young originated her role, she’s so perfect for it. Mincing around in a fuchsia pink fascinator and matching blazer, she’s a perfect toad, caring not a jot for her townsfolk and having a glorious time of her own. Sporting razor-sharp comic timing, she also has a spectacular voice, seemingly making very little effort to reach big rich notes after Sondheim’s trademark long breathless singing rants. Young and Lane have a really gross, potent chemistry as they plot and scheme, and in a strange twist you do find yourself almost rooting for them in the end.

The rest of the cast give off a naïve optimism, as though they’re just thrilled to be invited; indeed, for Jordan Broatch, playing J. Bowden Hapgood, the sort-of saviour of the day, this is their professional debut. On occasion I catch them grinning sweetly when the focus is elsewhere on stage, soaking it all in. For nearly any other performance this would be wildly unprofessional, but Hapgood is a doomed idealist and so it’s perfectly suiting to have someone so wide-eyed for the part.

Chrystine Symone, playing Nurse Fay Apple, the no-nonsense do-gooder, often comes across as very nervous, which she needn’t be: she has the most fantastic voice, singing honestly and without flourish in her low notes, and absolutely soaring in her top register.

Considering how little the stage is- a slender runway dividing the auditorium in two- choreographer Lisa Stevens really packs it in. I especially enjoy the little number between Hapgood and the mayoress, as they frug and bunny-hop seductively in unison.

Cory Shipp’s design reflects the cast’s unadulterated joyousness, with wild ‘70s prints and garish clashing colours. And Alex Musgrave’s lighting design takes a similar cue, making liberal use of the disco ball, along with bold washes of pink and blue.

As ever at the Southwark, the live band, led by Natalie Pound, is spot on, never missing a beat but somehow promoting that same sense of purposeful chaos. There is a slight problem with levels at the beginning, and with Sondheim being so lyric-heavy, there are moments when quieter percussion or, one supposes, much, much louder vocals would be helpful. But ultimately, it’s all a good fun mess anyhow, and the plot points make themselves known eventually.

It’s understandable that in a huge auditorium, having spent wild amounts of money on production, everyone in their black-tie best, a musical like this would feel underwhelming and confusing. But in a packed space, on a tiny runway stage, and with a very green excitable cast, Anyone Can Whistle hits all the right notes.

GET DOWN TONIGHT

Charing Cross Theatre

★★

“glitters with disco sparkle but dig a little deeper and it loses its shine”

GET DOWN TONIGHT

Charing Cross Theatre

Reviewed on 30th September 2025

by Hannah Bothelton

Photography by Danny Kaan

Previously reviewed at this venue:

GET DOWN TONIGHT

GET DOWN TONIGHT

GET DOWN TONIGHT

Southwark Playhouse

Reviewed – 5th April 2022

★★★★

“in a packed space, on a tiny runway stage, and with a very green excitable cast, Anyone Can Whistle hits all the right notes”

Not wasting any time, the plot gets going from the first note. Greedy, corrupt mayoress Cora Hoover Hooper (Alex Young) is looking to make some quick cash, and her trusty sycophant Comptroller Schub (Danny Lane) has come up with a plan: Fake a miracle and sell tickets for the honour of seeing it.

Chrystine Symone, playing Nurse Fay Apple, the no-nonsense do-gooder, often comes across as very nervous, which she needn’t be: she has the most fantastic voice, singing honestly and without flourish in her low notes, and absolutely soaring in her top register.

Considering how little the stage is- a slender runway dividing the auditorium in two- choreographer Lisa Stevens really packs it in. I especially enjoy the little number between Hapgood and the mayoress, as they frug and bunny-hop seductively in unison.

Cory Shipp’s design reflects the cast’s unadulterated joyousness, with wild ‘70s prints and garish clashing colours. And Alex Musgrave’s lighting design takes a similar cue, making liberal use of the disco ball, along with bold washes of pink and blue.

Reviewed by Miriam Sallon

Photography by Danny With A Camera

Anyone Can Whistle

Southwark Playhouse until 7th May

Recently reviewed at this venue:

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