The Drifters Girl (London) London Reviews and Tickets
Member Reviews (133)
See it if you love the Drifters or love jukebox musicals.The talent is wonderful.The story is dull and totally predictable.Great performances.
Don't see it if you are looking for something new and creative. This ain't it!
See it if you love the Drifters' music and truly enjoy a fabulous cast of extremely talented singers!!!
Don't see it if their music doesn't interest you.
See it if you absolutely love the Drifters and want to hear a large collection of their music. Beverley Knight is as masterful as you'd expect.
Don't see it if you want a well dressed and interestingly staged jukebox musical. This is a biopic similar to Jersey Boys but sadly inferior in every way.
See it if You like jukebox musicals and love 1960s music. Great singing and clever staging with a small cast.
Don't see it if You don't like jukebox musicals or 1960s doo-wop music, or musicals based on a biographical story.
See it if you wanna waste time
Don't see it if you like musicals it's just music chucked together
See it if You want a good story and amazing music to entertain. You can see this show whether you know of the drifters or not.
Don't see it if You want an original story and music.
See it if you love the music of The Drifters
Don't see it if You're expecting a spectacle, the staging is fairly basic.
See it if you enjoy musicals and like The Drifters’ music. Lots of glitter and glamour in this show.
Don't see it if you prefer musicals or shows that focus on more serious topics, or if you don’t like biography style jukebox musicals.
Critic Reviews (9)
And as a musical it certainly has its moments: basically any time Knight gets to sing. Her hardworking supporting cast ... are gifted multitaskers with fine voices. I couldn’t help but find ‘The Drifters Girl’ a bit tawdry. This is the jukebox musical genre at its most cynical.
Read more
The sound of the show ... is exquisite, Beverley Knight leading the way and raising the roof at points in the title role. Yet the dramatic balance doesn’t feel quite right yet. The changing roster of men in the line-up, and in Treadwell’s life, repeatedly woo us with calculated charm.
Read more
The staging is pleasingly simple ... [but] Ed Curtis’s script is awful. Ultimately ... this show depends on the quality of the music ... [when] Knight transitions into full-throated song, time seems to stop. Her four male co-stars deliver immaculate performances.
Read more
But this show ... relies on that catalogue of songs too heavily, which compromises the narrative journey and emotional force. Ed Curtis’s book features bite-sized scenes with neat bland soundbites. Knight blows us away with each number.
Read more
There's not much dramatic engagement in the story; all the characters who wander through remain outlines rather than people. [However], Adam J Bernard, Tarinn Callender, Matt Henry, and Tosh Wanogho-Maud play every part and fill every voice. They are credited as co-creators and in truth, they make the show.
Read more
It’s the script that doesn’t quite work. Still, it’s wonderful to see the multitasking [cast] handle not just the singing, but [an] array of subsidiary roles. The songs ... are adorable.
Read more
Ed Curtis's book is rather less pioneering; in fact, it falls into all the worst traps of jukebox bio-musicals. Knight, of course, brings her own firepower, and the musical kicks into high gear whenever she has a solo number.
Read more
It’s the performances that jerk tears, conjure smiles, make hearts swoon or ache – not the story. As a musical it flails, but every time the quartet layers up those coil-tight harmonies, or Knight lets rip, it’s heaven.
Read more