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Stereophonic review

Stereophonic is an unbelievably well-constructed production, synthesising live music with impassioned acting. Set in the 1970s, it follows the recording studio sessions of a fictional band. Stereophonic has already garnered great acclaim on Broadway (breaking the record for most Tony nominations for a play) and it has now transfered to the West End's Duke of York Theatre. 

The undoubted star of the show is no individual cast member, but rather Will Butler's music, which really transports us into the 70s era. Having listened to the recordings at home beforehand, Stereophonic's music is easily appreciated out of context. Getting to hear it played live by the cast is when it truly comes alive.

For me one of the main draws of the show was Zachary Hart, having seen him in Thomas Ostermeier's The Seagull earlier in the year. He does not disappoint here, initially making a fantastic coke-head drunkard, who then turns into a Gwyneth Paltrow Goop-style clean eating spiritualist. I also really loved Nia Towle's performance, and her dynamic with Hart's character. The comic interplay between the two studio techs (as played by Andrew R Butler and Eli Gelb) is superb. Stereophonic is, in my view, at its best during its forays into comedy, and I sometimes wonder if the darker or more emotional scenes quash the show's energy rather than truly move. 

Stereophonic's lighting I think is an unsung hero, naturally conveying time and drawing attention to certain sections of the stage. The small Noguchi-like paper lamps dotted around act as warm mood-lighting, and this really integrates with the bohemian styled studio setting. 

There is of course no hiding that Stereophonic is a long play, three hours long in fact. But for me personally, the time flew by. If anything you need the length: if you cut down on time, you would be cutting down on awkward silences, slow-brewing tensions, and of course the frustrations that come with recording take after take in the studio. This actively serves the realism and the discomfort Stereophonic is trying to cultivate. If the production were a snappy one-act, it would undermine the character struggles by allowing them to be resolved too easily. 

I do feel that the one thing that holds back Stereophonic is its lack of depth. There are many threads and character arcs, and the themes are slightly ephemeral. That being said, I do not think it was ever the aim to create some ultra-allegorical theme-driven story. 

During the final scene of the play, we get to hear individual elements of one of the songs as they are faded in and out at the mixing desk. This is a rather beautiful moment as we get to hear each musician individually, and what they bring to the table. It also gives us just a moment to sit and ponder, to think about all the scenes that have just unfolded, and to bear in mind the struggles it took to create a beautiful album. 

Stereophonic is a play that more than achieves its goals, and manages to not just push at the boundaries of what theatre can be. It does so in a way that is still highly polished and exceptionally acted. Stereophonic is easily watchable and a thoroughly enjoyable experience. ★★★★☆


 

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