It’s rare to witness a musical that not only tugs at your nostalgia but also weaves a powerful narrative around real-life events. The Drifters’ Girl, now on tour following its acclaimed West End run, does precisely that. Although the show was nominated for Best New Musical at the 2022 Olivier Awards, its performance at the Manchester Opera House suggests it’s much more than just another nominee.
The story unveils the riveting tale of The Drifters and, more significantly, of Faye Treadwell, the tenacious manager behind the group’s success who faced onslaughts of sexism and racism. The musical aptly encapsulates three decades of The Drifters’ journey, from chart-topping hits to challenges confronted in the racially prejudiced environment of the time.
For those unfamiliar with The Drifters’ legacy, they were more than just a musical group; they symbolised perseverance. Established in the racially charged times of the 1950s, the band grappled with myriad challenges, both internal and external. Despite the ever-evolving lineup and the racial prejudices of the age, they delivered hits now etched in music history, attributed to their remarkable talent and Faye Treadwell’s unwavering commitment.
Manchester Opera House, historically a venue that’s hosted countless iconic performances, provided the perfect backdrop for this narrative on The Drifters, a band embodying the spirit of their era. The audience, varied in age, seemed united in their appreciation of a story that, though set in the past, echoes today’s themes of perseverance, racial prejudice, and the potency of music.
At the heart of the cast is Carly Mercedes Dyer, epitomising the spirit of Faye. Whilst her vocal prowess might not have rivalled some of her co-stars, her emotive acting and adept dancing proved she’s a force to be reckoned with. X-Factor winner Dalton Harris, in spite of his slightly rigid acting, delivered vocally with breathtaking finesse. It’s testament to his talent that even among a cast of exceptional singers and dancers, Harris stood out.
Special mention must be given to Ashford Campbell, whose acting, voice, and energy stole the show, garnering the loudest and lengthiest applause. His rendition of ‘Stand By Me’ was pivotal, compelling the audience to not just sing along, but to almost rise from their seats to dance along.
Tarik Frimpong’s depiction of Clyde McPhatter bore depth, illustrating the challenges faced by the group’s early members, whilst Ashford Campbell delivered a touching portrayal of Ben E. King. Together, they made the historical trajectories of these legendary figures tangible to the audience.
Miles Anthony Daley’s portrayal of George Treadwell was nothing short of mesmerising; with every scene, he seamlessly merged the complexities of the character, breathing life into the narrative and capturing the audience’s attention with a skill and poise that stands testament to his exceptional talent and dedication to the craft.
Although Karen Bruce’s choreography was largely impeccable, there were instances when coordination faltered. However, these were minor hitches in an otherwise resplendent performance. Anthony Ward’s stage design merits particular note; its capacity to transition seamlessly from one setting to another – from a recording studio to a bar, from rainy London to a New Jersey courtroom – was nothing short of theatrical magic.
One of the more unexpected delights was the injection of humour. British sensibilities merged with the American narrative, generating moments of hilarity that counterbalanced the show’s weightier themes. It wasn’t just a tale of struggle; it celebrated the human spirit’s capacity to find delight amid adversity.
Jaydah Bell-Ricketts, portraying Faye’s daughter, brought a fresh and youthful viewpoint, reminding attendees of the generational impact of The Drifters and Treadwell’s legacy. Her role served as a bridge between the golden past and present, from historic racial challenges to the ongoing quest for equality.
Indeed, another commendable feature was the nuanced manner in which the musical addressed the racial tensions of the period. The Drifters, during their England tour, encountered glaring discrimination. By highlighting such incidents, the musical educates and spurs reflection on societal progress and the journey still ahead.
The costumes and lighting deserve mention too, meticulously crafted to transport attendees back in time, submerging them into The Drifters’ vibrant world. Every spotlight and sequin played a part, making the experience not merely auditory but deeply visual.
In an age where art often favours spectacle over substance, The Drifters’ Girl excels in achieving equilibrium. It’s a show that enlightens and entertains, prompting foot-tapping one moment and deep reflection the next.
While many musicals fade from memory shortly after the curtain descends, The Drifters’ Girl endures, its melodies and messages reverberating long afterwards. It’s an experience, a voyage through time, and above all, an homage to artists who surmount challenges. This musical is an ode to music, resilience, and the unwavering spirit of those who reject silence.
Even though the performance wasn’t flawless, its imperfections rendered it genuine, raw, and profoundly resonant. If you’re seeking a musical evening replete with stellar performances, soulful harmonies (including ‘Under the Boardwalk’, ‘Save the Last Dance for Me’, ‘Saturday Night at the Movies’, ‘There Goes My Baby’, ‘Up on the Roof’, and ‘Stand by Me’), and a tale that deserves an audience, The Drifters’ Girl is essential viewing.
The Drifters are here till 14 October. If you’ve not yet seen it, book your ticket. This is one musical journey you won’t wish to miss. 
Jaydah Bell-Ricketts as Faye’s daughter. Photo: Rebecca Byers
