Stereophonic
Rating: ★★★★★
Venue: Duke of York, London
Cast: Andrew R. Butler, Eli Gelb, Zachary Hart, Lucy Karczewski, Jack Riddiford, Chris Stack and Nia Towle 

It’s 1976 and one band are about to break through, break down, or break up… 

Step into the studio with the record-breaking, record-making new play Stereophonic. Plug into the electric atmosphere as one up-and-coming rock band record the album that could propel them to superstardom. Amid a powder keg of drugs, booze and jealousy, songs come together and relationships fall apart. The mics are on, the tapes are rolling, but with this band, someone’s always out of tune…

Stereophonic from David Adjmi and Will Butler, is best known for being the most Tony nominated play of all time, so it was no surprise when the show's West End run was announced, but the hype and anticipation surrounding it has only increased since the announcement and it's always daunting walking into a show with such high expectations. However, the production is worthy of every word of praise, every award and long may its reign as one of the best continue.

Stereophonic follows a fictional British-American band of five in 1976 as they make an album in a recording studio. While the plot sounds simple, it's anything but. Overflowing with drug binges, copious amounts of alcohol, strained relationships and jealousy...nothing is ever as simple as it seems. When their previous album takes off, their one month stay to record the next album quickly becomes a year and there's always something that feels out of place.

The production feels more like a documentary, or as though you're a fly on the wall witnessing conversations rather than a live piece of theatre. The acting from the entirety of the cast is so believable that it almost feels as though the actors aren't following a script. While of course that's the goal with any performance, I believe this is the most authentic and genuine interactions I've ever seen between a cast. The chemistry between every character is palpable and only adds to the ever-growing tension of the piece. Everything feels so intentional; every movement, every prop, every delivery of dialogue. It feels as though it's been meticulously chosen to create the intimate atmosphere this kind of production needs.

While the production is pitched as a play, it's a play whose focal point is music, so it goes without saying that music plays a huge role. While it's clear the production doesn't want to focus too heavily on the music itself, the music we do hear is sensational. And 'Masquerade' stands out as the strongest number in the production, and it serves as the closer for act one. However, as the music is really that good, I couldn't help feeling as though I wish there'd been more showcasing of the songs themselves.

As well as this, the cast all play their own instruments onstage when recording the tracks, which as an audience member only adds to the intimacy and intensity. It's difficult to pick any one standout cast member as the entire ensemble come together as one, despite the overwhelming drama of the piece. However, Lucy Karczewski as Diana must be applauded; Stereophonic marks her West End debut and she delivers one of the most captivating and memorable performances. 

The treatment of women in music throughout the production is very of its time and often elicits audible gasps from the audience; both what is said to women, or said about women. It's clear that the women in the band are simply viewed as stepping stones for their male accomplices and it makes for uncomfortable viewing at times, but incredibly important and accurate for its time.

There's something close and intimate about the lighting design Jiyoun Chang, who manages to create a warming atmosphere with the lighting that enables the audience to form a deeper connection with the characters. And the scenic design from David Zinn is exceptional. While there's no changes or moving pieces, the mixing board with the recording studio behind, separated by a glass screen works incredibly well. Despite it being all you see for the just over three hour run time, it doesn't ever feel overused or tired, it simply starts to feel familiar.

A mention must also go to the costume design from Enver Chakartash, and the hair and make up design from Robert Pickens and Katie Gell. It captures the essence of the 1970's with ease, and it's easy to be transported back to the time period when you witness some of the iconic fashion statements and hairstyles.

One slight issue I had was the runtime. With a run time at just over three hours, it's a longer piece of theatre, with the first act being 100 minutes alone. There were a few scenes, chunks of dialogue, or elongated pauses that could be removed without any lasting impact on the arc of the story. 

Stereophonic is the highlight of theatre for 2025. Perfectly merging the intensity and realism of creating music in the 1970's, the dynamics of the cast and the story is captivating in a way it almost shouldn't be, but you'll find yourself craving more long after you leave the theatre. Surprisingly funny, it highlights the battle of egos, the frustration of creating art, and most importantly...it's breathtakingly real. 

If you're a fan of Daisy Jones & the Six, you'll absolutely love Stereophonic!

You can book tickets to see Stereophonic, here.

**photo credit: Marc Brenner**