Stereophonic Review - The Many Faces of Fame
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Some may question Stereophonics' 3 hour and 10 minute duration, however the Broadway transfer does not waste a single second of its audience's time. Written by American playwright David Adjmi, the production details the inner workings of a rock band on the cusp of stardom, confined in a battle of ego and emotion as they record their second studio album. The most Tony-nominated play in history is bound to boast many merits, yet even with knowledge of its critical acclaim theatregoers are sure to be left far from disappointed.
The key to the production lies in its subtlety, the anger felt between band members simmering under the surface, evident not just in their words but the lack thereof. A growing sense of unease can be heard in the crackling of a microphone or the hiss of a snare and instead of resolution a growing dread seeps its way into the audience, transcending the barrier between performer and spectator. This palpability ensures the actors are given the freedom to simply exist on stage, communicating through defiant glances or the way in which they hold a cigarette.
Perhaps this is what makes Stereophonic so captivating, the intrusivity as we bear witness to the bands most vulnerable moments, a trait which feeds into our own morbid fascination regarding the creative conflicts of artists.
The era of the 70s provides a nostalgic backdrop, a surplus of cocaine, alcohol, floral shirts and bell bottoms all act as a clear indicator of the decade and is testament to the immersive costume design of Enver Chakartash. The wood panelled walls house a multitude of complex and deeply human arguments, director Daniel Aukin exploring the boundaries of romantic and platonic relationships with precision and ease.
It is always a pleasure to watch a talented cast interact with an equally impressive script and each actor could be argued to be a standout performance in their own right. Lucy Karczewski excels in her role as Diane, the groups lead singer who remains defiant in the face of scrutiny and judgement from her oppressive boyfriend and fellow bandmate Peter. Karczewski's tonal duality brings a heightened sense of emotion and desperation to each song, replicating the musical expertise of performers such as Stevie Nicks. This same ferociousness can be seen through the performance of Nia Towle as Holly, whose relationship with Reg faces similar turmoil due to his inability to remain sober. Zachary Hart convincingly staggers across the stage in a state of self-destruction, always looking for a new fixation (whether it be cocaine, houseboats or salads) to fill an ever growing void. Whilst his character is often utilised for comic relief, he also provides an air of sadness indicative of the pitfalls of the music industry and its ability to strip an individual of pride.
You cannot praise Stereophonic without mentioning the production's soundtrack composed by the Tony and Oscar nominated Will Butler. Performed live, each song bears resemblance to the plays rumoured inspiration Fleetwood Mac, yet every piece stands on its own as a musical triumph. Songs such as 'Masquerade' and 'Seven Roads' create a symphony of all the right sounds, bass thrumming in the chest as you're transported to a time where music was at its greatest. Capturing this essence of melodic mastery is no mean feat, and something which all creatives involved should be praised for endlessly.
However, instruments are not just used for composing but also as a form of defence, for example vocalist and guitarist Peter (played expertly by Jack Riddiford) is shown to opt for slouching in a corner plucking at strings in the middle of confrontation to avoid responsibility. These delicate moments of uncertainty are emphasised through the silence between members, a harsh yet necessary juxtaposition to the electrifying score.
In an age of AI music, Stereophonic is not only a spellbinding piece of theatre but a necessary one. The production defines what is so beautiful and simultaneously ugly about the process of creation, yet ultimately what makes it raw and innately human.
Stereophonic is a guaranteed hit sure to leave audiences feeling both electrified and nostalgic for a time they may not have experienced. From the first note to the final fading of the lights, this production is a five-star masterpiece.
Stereophonic will be playing at the Duke of York's Theatre until the 11th of October, grab your tickets below.
https://stereophonicplay.co.uk/
