Stereophonic
Let’s start with the basics: this play is not about the band with a similar name. The setting is a recording studio in 1970s Los Angeles. The band in question is a mix of British and American musicians, and there are some delightful moments playing on these contrasting accents and personalities.
Before we get too far in, a practical note: the running time is 1 hour 40 minutes before the interval, followed by an additional 1 hour 15 minutes after. This seemed to surprise a lot of the audience on their way in, so do come prepared. The play is divided into four acts, each marked by projections above the stage. However, these divisions didn’t come with a notable shift in theme or tone, which felt like an odd choice, especially given the production’s hyper-realistic setting.
The scenic design by David Zinn is immaculate. All the action unfolds within either the control room or the live room of the studio. It's the kind of space musicians would envy, a sprawling, wood-panelled set complete with a vintage mixing desk likely not seen since the heyday of analogue. The control room is lower and downstage, like a conversation pit, while the live room is raised and upstage, separated by the expected pane of glass.
The band are in the midst of recording a new album. Across the play, we observe the clash of egos, shifting relationships, and the pervasive influence of drugs. Despite the linear structure, the play feels fluid, often jumping between creative highs and emotional lows.
This production really is something different and quite special, though I suspect it will divide audiences. The acting is faultless. The cast are phenomenal, delivering performances that feel organic and lived-in. Playwright David Adjmi has created characters so believable they often interrupt one another, talk over each other, or let silences linger uncomfortably. It’s naturalistic to the point of discomfort; and that’s the point. Director Daniel Aukin seems determined to immerse the audience in the tense, claustrophobic pressure-cooker of studio life. The long running time is part of this immersion. Yes, the show could be trimmed to a more traditional format, but allowing it to breathe gives us a deeper connection with the characters and a greater understanding of the creative and emotional chaos they’re navigating.
There are songs scattered throughout, but this is not a musical. In fact, considering how heavily the play leans into 1970s culture and aesthetics, the music feels surprisingly modern, more reminiscent of Amy Winehouse than Fleetwood Mac. Since most of the music is presented as unfinished snippets or ideas in progress, they don’t receive applause. The first real audience reaction only came after the interval when Grover (Eli Gelb) delivered an explosive outburst. Even the interval fade to break was accompanied by extremely loud music, which caught the audience off guard, those who began to clap quickly gave up.
Our grounding presence in all this chaos is Grover, the producer, a wonderfully relatable character. Both he and Charlie (Andrew R. Butler) attempt to steer clear of the band’s constant drama, though they can’t help but indulge in a little behind-the-scenes gossip. Some of the best moments come when the band forget these two are still in the room during their private conversations, offering us revealing, often funny insights.
Is a content warning when talking of the 70s and bands needed? There is drug use, strong language, and outdated attitudes and behaviours that some may find offensive. If you’ve ever worked in a recording studio, it may feel too real at times and slightly triggering.
Despite my appreciation for the vision and intention behind Stereophonic, I go to the theatre to be uplifted. Personally, I would have preferred a tighter, more streamlined version. Yes, we’d lose some of the intimacy, but we might also find more joy in a schadenfreude way. In short: make sure you get a comfy seat.
This show was reviewed on the 13th June 2025 at the Duke of York's Theatre, London where it runs until the 11th October 2025. Tickets available here: Stereophonic Tickets | Duke of York's Theatre in London West End | ATG Tickets
Review written by Valentine Gale-Sides
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Photo credit: Marc Brenner
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