Stereophonic

Plug into the electric atmosphere of an up-and-coming rock band recording their second album in 1976. The one that could propel them to superstardom. As the tape rolls, egos flare, relationships break down, tensions run high and something extraordinary takes shape. This is how great art is made. One take at a time.

Daniel Aukin’s direction is both clever and purposeful, maintaining a delicate balance between realism and theatricality. He doesn’t overstage the drama, but instead allows the tension and humor to emerge organically. The pacing feels carefully tuned—tight when it needs to be, patient when letting characters stew in silence. It’s the kind of direction that doesn’t shout for attention but rather quietly ensures everything runs seamlessly, like a skilled producer making sure the band hits their cues.

The set, designed by David Zinn, is nothing short of extraordinary. From the moment the curtain rises, you’re transported into a meticulously recreated 1970s recording studio. The wood-paneled walls, retro sound equipment, tangle of cables, mismatched mugs on the table, even the slightly worn couches—it all feels deeply lived in. You don’t just see the space; you believe in it. It captures not just the look but the texture of the era, down to the smallest detail, creating a visual environment that’s both functional for the actors and utterly engrossing for the audience.

Lighting designer Jiyoun Chang matches that authenticity with a design that is deceptively simple but masterfully executed. Most of the stage is lit from the front with profiles, but the standout choice is the clever use of fixtures that mimic the harsh, almost fluorescent overhead studio lights. It’s a subtle touch, but it grounds the production firmly in its environment. At times, it feels less like a stage play and more like you’re spying on a band mid-session, bathed in the glow of their creative chaos.

The sound design by Ryan Rumery is arguably one of the show’s most impressive achievements. With a tangle of live inputs, instruments, and microphones, it would have been easy for things to tip into chaos, but Rumery ensures clarity and balance for nearly the entire evening. Every playback element is recorded live during the show, and the effect is astonishing—it genuinely sounds like a working studio in real time. The one caveat: a couple of songs were mixed just a touch too loud, crossing the line between immersive and overwhelming. Even for a show about rock, I like to leave the theater with my eardrums intact.

Costume designer Enver Chakartash nails the mix of whimsy and polish. Think flared jeans, leather jackets, silky shirts with collars big enough to rival airplane wings, and just the right dash of rock-star swagger. Nothing feels like a caricature; instead, the looks strike that perfect balance between period accuracy and personality. Each costume tells you exactly who these characters are before they even open their mouths, from the more flamboyant pieces to the understated, worn-in rehearsal clothes that suggest long hours in the studio.

The music and orchestrations, by Will Butler and Justin Craig, are delightful across the board. Every track feels authentic to the time period without tipping into pastiche, and the way the songs evolve throughout the show mirrors the messy, collaborative magic of the creative process. It’s satisfying to hear fragments grow into something whole, underscoring the drama of the play while also giving audiences something genuinely enjoyable to listen to. Their work is a subtle triumph—it supports without distracting, complementing every dramatic beat.

Robert Pickens and Katie Gell’s wigs and hair design complete the immersive time-capsule feel of the production. The slightly undone, lived-in looks are exactly right for a group of musicians who spend more time in the studio than in front of a mirror. My one minor quibble: Holly’s straightened hair in the final moments felt out of character, flattening some of the personality she carried earlier in the play.

The book by David Adjmi is sharp, funny, and layered—but it doesn’t grab you right away. The first 20 minutes are slow, almost painfully so, and I found myself wondering whether the pace would ever pick up. Thankfully, it does. Once the drama kicks in, the writing soars. The humor is quick without being cheap, and the dialogue captures both the absurdity and poignancy of being trapped in close quarters with strong personalities. The script ultimately succeeds in showing not just the clash of egos but the beauty of collective creation.

The cast delivers a series of memorable performances. Andrew R. Butler, as Charlie, is criminally underused. His quirky humor and nuanced delivery lit up the stage whenever he was given lines, but sadly, those moments were too few. Zachary Hart gives a powerhouse performance as Reg, commanding the stage with charisma and convincing mannerisms. As Grover, understudy Sam Denia was an absolute revelation—his performance was so detailed and specific that it never felt like he was covering; it felt like the role belonged to him. Lucy Karczewski brings depth to Diana, though the character’s whininess occasionally tipped into grating. Jack Riddiford’s Peter provides a solid, grounded balance, while Chris Stacks Simon is sharp, comedy brilliance giving us some of the evening’s best moments. As Holly, Nia Towle is competent, but the character feels underwritten compared to others, leaving her with fewer dimensions to play.

One immersive design choice I could have lived without was the smoky haze that lingered in the auditorium. While it certainly contributed to the period feel, the scent was distracting and, at times, unpleasant. A bold choice, but one that didn’t land for me personally. And I liked the idea of the 4 acts, but for me they were not essential to the plot and would have not made any difference to the show.

In the end, Stereophonic is a fascinating exploration of art, ego, and collaboration, set against the charged backdrop of a ’70s recording studio. The production excels in design and sound, with standout performances and a script that rewards patience after a slow start. Not perfect—some moments drag, and a few design choices won’t please everyone—but overall, it’s an engrossing and highly original piece of theater. Just make sure to plan around the run time.

Stereophonic plays at the Duke Of York's Theatre until November 22and. 🎟 Book tickets here: https://www.thedukeofyorks.com/stereophonic