The Drifters Girl may ring to the sounds of the The Drifters’ iconic discography, but it tells their manager, Faye Treadwell’s (Carly Mercedes Dyer) story, not theirs. We meet Faye in 1953, and her first fateful meeting with the – married – George Treadwell (Matthew Dawkins covering for Miles Anthony Daley), manager of the first Drifter’s line-up led by Clyde McPhatter (Tarik Frimpong).
Ed Curtis’s book wastes no time establishing Faye as a take-no-prisoners kinda lady, shooting down male egos (including Nat King Cole’s) left, right, and centre. An inspirational chat with George later, and she’s signed on to co-manage the band.
Dyer is simply sensational as this musical’s hero, armed with stage presence to die for, and thrilling vocal power. The drama itself may be rather bitty, told in a sometimes quick-fire series of vignettes, but she holds it together and makes it work. Her delivery of a reworked version of Stand by Me to close the first act is the stuff of musical theatre dreams.
“Dyer is simply sensational as this musical’s hero, armed with stage presence to die for, and thrilling vocal power.”
Which is no small achievement in a show where drama takes such a backseat the show’s jukebox. You needn’t worry whether your favourite track is in the show: they’re all in it, or seem to be. Which is great fan service, but leaves little space to develop any depth. The framing device of the older Faye telling her story to daughter Tina (Jaydah Bell-Ricketts) feels tacked on, and the show’s noble attempt to portray every single singer who’s worn a Drifter’s suit risks making most forgettable.
Despite this, Matthew Dawkins, Ethan Davis (also a cover – bravo!), Tarik Frimpong, and Daniel Haswell put in dedicated turns, conjuring every Drifter, hostile businessman, lecherous rival, and contemporary celebrity required. Most importantly, when suited, booted, and asked to sing, they deliver in spades. From Saturday Night at the Movies to Under the Boardwalk, they honour the Drifter’s songbook with panache.
Image Credit: The Other George
The show is at its best when Dyer and this fabulous foursome can get together and let rip. Don’t leave early, wait for the encore, it’s worth the ticket price alone.
Note: On opening night in Edinburgh, the sound-balance for the first 10-20 let the band drown out the performers. I’m presuming this was a mistake and not a design choice.
Image Credit: The Other George
What you won’t get from The Drifters Girl is any real sense of time, place or era. Anthony Ward’s set is minimal but functional, a blank space painted with Andrzej Goulding’s concert appropriate video design. The show’s most significant prop is a large desk wheeled on and off to let us know when business is happening. To be fair, it’s hard to make contract law exciting, but no one really tries.
“You needn’t worry whether your favourite track is in the show: they’re all in it, or seem to be.”
The show does also broach issues of misogyny and racism, but odious as the ‘No Irish, No Blacks, No Dogs’ signs are when the band tours the UK, matters swiftly default back to Faye’s heroic journey. To be fair there are hints that she overworks and underpays the singers, and that she values the Drifters brand more than the band itself, but a – fantastic – song always breaks out anyone can get a good look at the story’s warts.
Ultimately, if you love The Drifters, then The Drifters Girl will give you a concert performance to die for. For anyone else there’s not enough theatre to balance out the musical. With anyone less dynamic than Carly Mercedes Dyer in the central role, it could be a long-ish night in the stalls.
Show Details
Venue: Edinburgh Playhouse
Dates: Tue 30 Apr – Sat 4 May 2024
Admission: From £13
Showtimes:
- Tue – Sat at 19:30
- Wed and Sat at 14:30
Age Recommendation: 10+
Running Time: 2 hours 20 mins including interval
Accessibility
- Wheelchair Accessible Venue
- Wheelchair Accessible Toilet
- Audio Enhancement System
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