Review: Stereophonic (Duke Of York's Theatre)

Review by Daz Gale

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When it comes to hotly anticipated Broadway transfers, new play Stereophonic has an advantage no other show can say - it holds the record for the most Tony Award nominations of all time, being nominated for 13 last year (and winning 5). That surely sets expectations high for its West End debut, where it has now opened at the Duke of York’s Theatre. Having heard people talking about this play for the last year, I was certainly excited to see it for myself, but would it be music to my ears?

Stereophonic tells the story of a fictitious, unnamed rock band on the cusp of super-stardom. Set in a recording studio over the space of one year from 1976 to 1977, it sees the band attempt to record their latest album while dealing with the chart resurgence of their previous work, and dealing with the differing dynamics between the five band members - featuring two couples who break up during the recording process.

Sound familiar? Stereophonic bears more than a passing resemblance to the story of Fleetwood Mac, particularly during the recording of their ‘Rumours’ album. Although this has never been explicitly stated, it is fair to assume they are the inspiration for this fascinating insight into what recording an album might entail for a band at the height of their fame and success, when drugs, the balance of power, and ego are all at play.

David Adjmi’s writing weaves comedy through the narrative with larger-than-life characters who still feel refreshingly real. There is no denying this is a fairly lengthy play, coming in at just under three hours, allowing Adjmi’s writing to play out slowly, telling the story over four acts over the course of a year. The differences in each character in each of these four acts is clear to see - not subtle by any stretch, but relatively natural despite the short space of time between each act. Characters grow in confidence, arrogance, and professionalism, each leading to differing dynamics between the five band members and pairings within the band

The change and growth seen in Adjmi’s writing is further explored through Daniel Aukin’s patient direction, with each of the characters in Stereophonic incredibly fleshed out in a mix of nuanced and overblown traits. Not only does the way each character carries themselves impress, but the way it changes gradually throughout the play brings a sense of authenticity to the mix. Perhaps the pacing isn’t always as sharp as it could be, with an over-reliance on prolonged silences - while these appropriately represent the tension within the band, it runs the risk of bordering on the tedious for its multiple usage, especially in a play that wouldn’t suffer from shaving a few minutes off of it.

When it comes to the design, Stereophonic cannot be faulted, with David Zinn recreating a recording studio, with a live room and control room both visible. This allows two scenes to play out simultaneously and results in some inspiring usage. A light-hearted conversation may be happening in the control room at the same time as something completely contrasting is happening in the live room, in an always exciting watch.

Stereophonic may be visually thrilling, but it is in its sound where this play really comes alive. With every vocal and instrument recorded live and played back in real time, this is a very technical show - one that attempts to recreate a real recording studio while mixing in the extra element of live theatre. Ryan Rumery’s sound design navigates this beautifully with crystal clear sound and varying elements, including one standout sequence where a conversation is heard without those characters being seen.

Music is at the heart of Stereophonic, and so it is fitting that Will Butler’s original songs always deliver with their skillful nature. Musical numbers such as ‘Seven Roads’ and ‘Masquerade’ are incredibly crafted and sound like they would have been hits if this band were real. The creation of ‘Masquerade’ in particular and its placement in the show is a wonderful payoff that speaks to the genius at play in Stereophonic involving all creatives. Furthermore, the intricacy when it comes to the creation and performances of these musical numbers is unlike anything else you will ever see on stage, with songs pulled apart and changed in front of you. Watching a band sing the same part of a song in quick succession multiple times may not sound like the most enthralling of watches, but the differences in each performance makes it continually compelling.

While the talents of the creative team lay at the heart of Stereophonic, the wonderful cast of seven more than match them, taking this play to the next level. The band of five are joined by two technicians in the control room, with Eli Gelb reprising his role from the Broadway production as Grover, a character whose existence initially feels like a distraction from the band but becomes more fleshed out in himself to become one of the more riveting and a refreshing difference with his own dynamics at play. Andrew R. Butler also reprises his role as Charlie in a character who provides most of the comic relief. There is a running joke about Charlie being constantly forgotten about, but there is no danger of doing that with Butler’s own brilliant performance.

The third cast member reprising their role from Broadway is Chris Stack in a standout turn as Simon. Starting the play feeling carefree and mostly comedic, the Simon we see at the play’s climax is a completely different character - more grown up, assured, and in control. Watching Stack’s progression in the space of one year or three hours for this audience is one of the more astonishing factors in Stereophonic, with Stack delivering a masterclass performance in the role, Though this is very much an ensemble piece, Peter embodies “main character energy”, at least in his own mind, and this is explored through an exceptional performance from Jack Riddiford in an impeccable characterisation that feels volatile and dangerous, making it impossible to take your eyes off of him - especially in a pivotal scene in Act Three,

Another character who ends the play feeling different than how she started is Diana, with Lucy Karczewski’s performance brilliantly building in confidence. Though she is still captivating to watch from the very beginning, Diana oozes star presence by the time the play concludes, and Karczewski more than matches that with incredible vocals and acting ability. Comparatively more understated, Nia Towle brings a sense of calm to the role of Holly, though I found it a shame her character didn’t feel as fleshed out as the others, despite Towle’s leading quality performance. The cast is completed by Zachary Hart, who is an early standout as Reg. With a tragic quality to the character initially, Hart is incredible as he navigates the conflicting nature in a fantastically strong performance.

Stereophonic is a fascinating look behind the scenes at an album recording, with the inclusion of heavy themes that could be translated into any number of situations. It is this setting that makes it come alive,* though, and really does border on genius through its execution. It isn’t completely perfect, but that makes it all the more fitting, as the imperfections while recording the album are a prominent aspect of the story, Stereophonic somehow manages to feel completely slick and polished while still retaining an element of being rough around the edges at times, and that is all part of its charm. It isn’t hard to see why this play received so many Tony award nominations - I wouldn’t be surprised if it follows suit over here and adds a few Oliviers to its haul. It might have had a long road to get to the finished product, but there is no doubt that the West End premiere of Stereophonic is going to be one huge hit.

Stereophonic plays at the Duke of York’s Theatre until October 11th. Tickets from https://allthatdazzles.londontheatredirect.com/play/stereophonic-tickets

Photos by Marc Brenner