REVIEW: The Drifters’ Girl – King’s Theatre, Glasgow

Faye Treadwell trail blazed the way, becoming the first female African-American music manager of note.

On the death of her talent manager husband in 1967, Treadwell took over the sole management of one of his most famous acts – The Drifters.

As known for their ever-changing line-up (60 members over the years) as for their raft of hits in the 50s, 60s and 70s, The Drifters are still touring to this day. Indeed they have an eye-watering number of dates in the UK stretching well into 2025.

 

In The Drifters Girl, Treadwell recounts her inspiring story to her young daughter. There is much of interest here: the highs and lows of making it as a woman in a white, male industry, the mega hits, the sell-out tours and the legal woes, the relocation to the UK in the 70s and the revival of the band.

 

It is clear that, while Treadwell’s story is history making and her business acumen legendary, the music is of paramount importance. And who can blame the writers and producers? The Drifters’ back catalogue is so vast and so frequently heard that these songs are as familiar to audiences today as they were when they were released.

While issues of everyday racism and sexism and the personal tragedies met by the members are touched upon as Treadwell tries to blast through the glass ceiling, they are lightly touched upon rather than treated in any great depth.

But lets get to the music. From the first note sung, you know you are in for an absolute treat. The band sound glorious, crisp and sharp throughout and you would be hard-pressed to find four better vocalists than those representing the many members of the band: Tarik Frimpong, Daniel Haswell, Miles Anthony Daley and Ashford Campbell are note perfect their harmonies divine. Carly Mercedes Dyer is a force of nature as Treadwell, with lungs that could blast off the ceiling.  Of note is the fact that the four members of the band play every other role in the drama and with absolute aplomb.

There are a sack load of hits played out perfectly on stage: Under The Boardwalk, Save The Last Dance For Me, Saturday Night at the Movies, There Goes My Baby and two versions of Ben E. King’s Stand By Me, as well as many, many others.

The production whips along at break neck speed, the action playing out on Anthony Ward’s simple, sleek and seamlessly transforming set, enhanced by Ben Cracknell’s warm, inviting lighting. And ends to the delight of the audience in an on-your-feet sing and dance along.

This production earns its stars for pure entertainment value, the finest quality cast, sleek production values and sharp concise story telling. It very much delivers exactly what its audience wants and expects. An uplifting night at the theatre.

Runs until 13 April 2024 | Image: The Other Richard