Reviewed by Amelia
Tickets were gifted in return for an honest review
Being the best thing to come out of America in recent times, David Adjmi’s Stereophonic soars to new heights and possibilities that most plays could only dream of. This immersive dive into the collaboration of artists fighting pressure, love and self-destruction is a show for the ages. A dynamic of personalities so formidable, it is impossible to imagine it working without each member of the group.
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| Photo by Marc Brenner. |
We begin with Eli Gelb and Andrew Butler as sound engineers, who have both come over from the critically acclaimed Broadway production. When exploring the characters before the start of the play, I initially wondered what these two were going to add to the piece, but I was pleasantly surprised. Gelb as Grover, was scene stealing and his nature of being so unbothered about everything worked incredibly well against the angst of the band itself. Butler playing Charlie was comedic and deliberate in this role and I often found myself watching him for reactions to situations as his mannerisms were just perfect. They worked so well off each other and although their arch’s may seem less important than the band members themselves, these are the characters that the audience relates to the most, and therefore, we care a lot about them.
Reggie’s character changes throughout the piece and he’s often found on either end of a spectrum of self-destruction. He’s played brilliantly by Zachary Hart who gives his all into each aspect of the character, showing us the extremes of alcoholism and addiction without over selling any aspect. His portrayal feels raw and authentic, as do the reactions felt by his band mates each time he pushes it too far. His complex relationship with Holly reaches its climax in the middle of the piece, and the fallout is gripping to watch. Holly, played by Nia Towle, is the calm and sensible member of the group, not often disliked or disagreed with by anyone else and limiting outbursts for when they are absolutely necessary. This contrasts the other characters well and her calmness is something to gravitate towards to in a scene.
Diana is incredibly fragile and insecure, only emphasised by her tumultuous relationship with Peter, and she is executed marvellously by Lucy Karczewski. Her voice is immaculate,and I hope she gets more opportunities to show it off in other projects. There’s a scene where her and Peter have anargument offstage and we are listening to them through the booth microphones. This is such a powerful motif and lends itself to the narrative that everything the characters do will never be private. Peter is the most volatile in the group, his way of thinking and going about life being to put others down to get what he wants. He ends up being the one fighting for the band at its conclusion, despite the fractures between each member, which is interesting due to his lack of care for really anything or anyone else. Jack Riddiford gives a solid performance here and is truly menacing and narcissistic when he wants to be. He also has a fabulous voice that could be utilised greatly in another musical show.
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| Jack Riddiford. Photo by Marc Brenner. |
The glue of the group falls to Simon, who comes across as less bolshy as everyone else, but is as eccentric as possible in his own way. Chris Stack does brilliantly here, after also being involved with the Broadway production, and it’s clear why he has come over with the show. His mannerisms and movements throughout the piece are truly a delight and he makes a real impact with what he’s been given.
The staging, by David Zinn, was simplistic but so effective. The recording studio felt intimate and there didn’t need to be any complexities or extravagance; it fit its purpose tremendously. It almost felt like you are watching a film being recorded, due to the authenticity and raw emotion spilling from the stage. Despite the long run time, each scene had purpose and was necessary to the story. The original music by Will Butler carried so much weight and passion, it’s hard to believe they don’t belong to an actual chart-topping band.
Arguably the best play of the season so far, Stereophonic is a must-see hit for anyone. It plays at the Duke of York’s theatre, currently running until 11th October.
⭐️⭐️⭐️⭐️⭐️
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| Photo by Marc Brenner |
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