Review: THE DRIFTERS GIRL, Bristol Hippodrome

It’s hard to tell the entire story of The Drifters. Not least because the group became a revolving door of something like 60 different members over the decades. And therein lies the problem for The Drifters Girl – it tries to take on the whole story, mainly from the perspective of their trailblazing African American manager Faye Treadwell.

It would be hard to get all that plot into a sensible length, even more so when you want to put in well over 20 songs. Ed Curtis (book) and Jonathan Church (director) therefore use a mélange of flashbacks, vignettes and exposition to tell the muddled story in among the hits. They variously use Treadwell’s daughter to explain plot, and then others to tell us what has happened, rather than letting us see it or experience it.

The result is a lack of genuine connection to any of the central characters (even if you can keep up with the multi-role Drifters and which incarnation of the group they’re in). The production tries for some tenderness at points, but none of the emotional notes land.

For a character that spends the most time on stage, we frustratingly never really get to know Faye. Her early life is dismissed, and her romance and marriage to George Treadwell is a blink and you’ll miss it moment. Points of great decision are glossed over by throwaway clichés.

We never quite understand what is driving Faye, while her matriarchal, hire and fire attitude towards the young men she manages seems an unlikely thing to celebrate.

None of this however, is the fault of a superb cast who are willfully throwing themselves into their multiple roles. Nor does it take away from Carly Mercedes Dyer’s superlative voice or the tight doo wop harmonies of The Drifters, where Tarik Frimpong excels and his dance background is in evidence as he morphs from one role to the next.

There are moments where we get glimpses of what the show could have been – fun is had at the expense of the seemingly never-ending conveyor belt of singers. Likewise, a comedic sequence of hotel visits while on tour in the UK is more cutting about the prevailing racist and sexist attitudes than any of the heavy-handed dialogue that’s gone before.

It’s a glossy production for sure, the set (Anthony Ward) feels slick - its constant movement gives fluidity and framing and there is beauty in the simplicity of Ben Cracknell’s lighting design. The direction is pacey, and that saves anyone dwelling on a singular moment.

There is also richness to the story of a black, female music manager fighting off litigations and a society unwilling to accept her. You're is left wondering what could have been achieved by covering a shorter period, and deepening the connections between the Treadwell’s and the group that made their name.

Perhaps telling is that this production comes from an idea of Tina Treadwell - daughter of Faye and George. Maybe some parts of this story are off limits.

For some, the beautiful harmonies and packed songbook will make The Drifters Girl an enjoyable escape. As far as elevating it above a tribute performance goes - it needs many more ‘magic moments’.

Photo credit: The Other Richard

The Drifters Girl at Bristol Hippodrome until 13 January then touring

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