Regional Theatre Review: The Drifters Girl

We’ve got a truly inspirational woman to thank for bringing The Drifters, arguably one of the world’s greatest vocal groups, to Britain. And now it’s only right that her incredible story should be told. 

Faye Treadwell was the first African-American female music manager and, along with her husband George, fought for three decades to turn Atlantic Records’ hottest group into a global phenomenon. 

Having delighted audiences in the West End, The Drifters Girl is now on tour across the UK and Ireland. You can expect the same spectacular show but with more of a get-up-and-dance finale which got me and everyone else in Milton Keynes Theatre on our feet for.  

Loren Anderson (standing in for Carly Mercedes Dyer) took on trailblazing Faye Treadwell for our performance and what a powerhouse she is, in more ways than one. Hitting all the big notes, Loren gives every number her all, and portrays Faye as an absolute force to be reckoned with. 

“The Drifters are like the Yankees… you can change the team but you can’t replace the Yankees”, maintains Faye, and that sense of The Drifters’ as a brand is very clear throughout.

I had no idea there were 60 different vocalists in the group including the likes of Ben. E. King, Rudy Lewis and of course Clyde McPhatter. There’s a particular stand-out scene which gives an insight into the feat that Faye (and George) faced with the ‘revolving doors’ of The Drifters which sets the scene for future copyright and legal battles. 

Talking of revolving doors, the performers (there are just six in total) take on countless roles throughout the show and the transitions were seamless, sometimes changing characters within a matter seconds.

Miles Anthony Daley was the highlight for me; switching effortlessly between the character of George Treadwell and other roles, with the swap of a hat or jacket, he delivered over and over again, his infectious energy filling the stage.  

Tarik Frimpong (as Clyde McPhatter, Lover Paterson and others) was brilliant too, oozing charisma and rhythm while Ethan Davies’ take on Ben E. King, Rudy Lewis and others was spectacular. 

In fact all of the performers put their everything into each number with outstanding vocals for The Drifters’ many iconic tracks such as Save The Last Dance For Me, Kissin’ In The Back Row of The Movies, Stand By Me and Under The Boardwalk. 

Sharp suits, smooth moves and slick hairstyles took us on a journey back to the golden eras of the 50s, 60s and 70s.

Sharp suits, smooth moves and slick hairstyles took us on a journey back to the golden eras of the 50s, 60s and 70s, charting The Drifters’ highs and lows. And there were plenty of both. 

The set is simple yet effective, with floor to ceiling panels moved and illuminated for stages, offices and even a London taxi journey. Giving a 3D effect, the simplicity of the set only helped to further enhance the characters and their vocals. 

There are moments of pure joy and comedy (when the three singers model some very elaborate head-wear in particular) contrasted with captivating drama, edginess and the racism and misogyny that Faye encountered throughout her career. 

It’s can be hard to balance the musical element of a… musical… with the storytelling, particularly when you have a complex tale to tell. The Drifters Girl gets this spot on with a perfect combination of the two - enough so you know what’s going on throughout but not too much that you miss out on the hits. 

For me, it’s a musical that not only ticks all the boxes, it wraps the boxes up with a big bow and delivers an Unforgettable gift, just like Faye Treadwell did in her mission to achieve global fame for the much-loved Drifters’ brand. And after hearing her remarkable story, I’m so grateful that she achieved it.