Stereophonic | Duke Of York's Theatre

Stereophonic is a tremendous example of artistry in it's most raw, pure and vulnerable form, creating a play that blurs the line between audience and artist. Written by David Adjmi, original music by Will Butler and excellent direction by Daniel Aukin, this Tony Award Winning Play makes it's West End Debut with a quiet yet powerful ripple. The play, unlike any other, never panders to the audiences; instead almost choosing to test their patience with a running time of over three hours. However it's well worth the wait. 

Stereophonic follows the process of creating an album by a 1970's British-American band. The five band members, Reg, Diana, Peter, Simon and Holly, along with sound engineers Grover and Charlie, are situated in a recording studio and left to their own devices. This singular premise is the foundation for the entirety of the play, not following a more traditional theatrical narrative. In fact, many of the character arcs are subtle changes that occur as a reaction to one another, as opposed to a straight forward plot. This stipped back and bare boned framework allows the play to really dive into the smaller moments that are usually lost. 

First and foremost, this play isn't for everyone. Adjmi's script in its essence, avoids many of the devices that audiences have come to associate with plays. With no clear forward direction, no particular characters to root for, no plot twists or fast paced action; the play can and does drag at times. The play, rather than being a dramatic piece, chooses to present itself as a theatrical one. The audience is at best ignored, at worst forgotten; with reality of the character circumstances playing out. Audiences are treated to a fly on the wall point of view, with a revered silence being upheld in the audition. 

However, the play in it's own right is nothing short of genius. The play is a slice of life; with each individual character melody forming a gorgeous harmony that is slowly refined through the piece. Meticulous and sincere, the play painstakingly provides audience an in-depth experience of how music is made. The pain and the glory of the album, existing on the flipside, are given equal weightage in the play. 

The play is propelled by the characters individual thoughts and emotions as opposed to a larger story. The inevitable romances and relationships within band members, and the natural power hierarchy that emerges, cause clashes and confrontations that make the piece come to life. The show prioritises the characters, with audiences building the larger web of information and timeline from the context provided in heated arguments. Adjmi's writing is admirable, especially an overhanging theme of how inspiration comes from a place of oppression and pain, even when one appears to have it all.

The play features original music by Will Butler, with songs that feel timeless and capture the heart and soul of the characters. The music feels so authentic that doubtlessly audiences will later research their rankings on the charts and sadly discover they're not actual chart toppers. With a gift for storytelling and lyrics, Will Butler's songs also use instruments beautifully, creating a real remedy to the play's otherwise long silence. With orchestrations by Will Butler and Justin Craig (who also serves as Music Director) the music is exquisite, giving audiences a rare treat of an album that would have easily been the soundtrack of their lives in an alternate reality. 

The cast are truly remarkable, delivering some of the most nuanced and mature performances on stage. Andrew R. Butler as Charlie, although a silent presence, brings a solid gravitas to the piece with his silence dominating the stage. Zachary Hart as Reg delivers a gorgeously subtle yet profound character development, that leaves audiences wringing in it's aftermath. Chris Stack as Simon, is an incredibly strong performer. One of the original Broadway cast members, Stack's performance is unsurprisingly perhaps the play's stand out with the steely fire burning throughout. 

Nia Towle as Holly brings warmth to the play's cold and rigid tone, with a wonderfully expressive and moving performance. Jack Riddiford as Peter is a wildly impressive performer, bringing a terrifying depth to the role. Riddiford takes the challenging role in his stride, and demonstrates an excellent performance. Lucy Karczewski as Diana is simply divine, with siren-like vocals and an excellent performance. Karczewski's ability to bring out the internal conflict truly makes the play so arrestingly good. Eli Gelb as Grover, another original Broadway cast member, is the stand out performer that sits at the crux of the piece. Gelb's performance is a masterclass in the art of acting, and a resoundingly sharp performance that remains long after the show. 

The set is perhaps the most innovative design attempted on stage, a functioning recording studio. Designed by David Zinn, Sound engineers Grover and Charlie are sat at the mixing desk, with small sofas dotted around as a crammed and insignificant studio and the actual recording Booth ahead of them. Audiences are quite literally given a window from the outside into this world, as Grover and Charlie are sat with their backs facing the audience, acting as an additional layer and reminder that the events of the play are unfolding; but not specifically for the audience. 

The sound and lighting design for such a set may have proved challenging and yet the execution is not only flawless, but noticeably admirable. Ryan Rumery manages to make a clear distinction with the sound in front and behind the glass of the recording Booth, along with providing an immersive listening experience for the songs themselves. Jiyoun Chang's lighting helps create a visual distinction between scenes, whilst adding to the subtle ambience of the emotion. 

Enver Chakartash creates a wardrobe for the characters that are both very 70s, whilst also providing visual signs to their current emotional state with fit, colours and state of the clothes. Robert Pickens and Katie Gell (Hair and Make Up), add to this, creating an authentic piece that compliments the characters, even from afar. 

Stereophonic dares to be different, presenting an almost documentary-like play that allowed audiences an insider's insight that is rarely provided. Much like the artistic journey itself, the show is long and tenuous, yet the reward speaks for itself with an excellent track record of being one of the most exciting pieces of theatre in recent times. 

Stereophonic is currently playing at the Duke of York Theatre until the 11th of October 2025.

Tickets and More information

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Marc Brenner