Sterophonic
Overall Grade: A
Stereophonic isn’t just a play. It’s a full-bodied immersion into the chaotic, euphoric, and deeply fragile act of artistic creation. Written by David Adjmi, with original music by Will Butler (formerly of Arcade Fire), the production stormed Broadway in 2024 after a buzzy Off-Broadway run—and made Tony Awards history with 13 nominations, ultimately winning five, including Best Play, Best Direction of a Play, and Best Featured Actor (Will Brill).
But accolades only hint at the experience. What makes Stereophonic utterly singular is its design: the production built a fully soundproof recording studio on stage. This isn’t clever illusion—it’s real. When the cast sings, plays, and fights inside the booth, the audience hears it exactly as if they were in the control room. For anyone who’s ever dreamed of being a fly on the wall during the making of a legendary album, this is as close as it gets.
The story follows a fictional British-American rock band in 1976 as they attempt to record their sophomore album—an echo of Fleetwood Mac’s Rumours, but stripped of glam and soaked in cigarette ash and emotional fatigue. The band is made up of:
Simon, the perfectionist drummer and emotional glue of the band, volcanic yet vulnerable—a Freddie Mercury-esque genius.
Reg, the bassist, spiraling into addiction but doing it with brutal authenticity.
Holly, the keyboardist/vocalist and Reg’s wife, who is slowly, bravely extracting herself from his chaos.
Peter, the guitarist/producer, maddeningly precise and coldly critical.
Diana, tambourinist and vocalist, Peter’s partner, underestimated until she unveils her own brilliance.
Then there are the engineers:
Grover, the eternally stoned sound guy and comic MVP of the production.
Charlie, his near-silent partner, who says almost nothing but feels indispensable.
Highlights from the Studio Floor
“Masquerade”: Simon’s tortured pursuit of sonic perfection hits its peak here. Watching the band run this song again and again—and again—is exhausting in the best way. You feel his drive, his madness, and the exhaustion of everyone else in his orbit.
“Bright V1”: Diana’s quiet, heartstopping ballad. The moment she asserts her artistic voice is one of the most moving of the entire play—proof she’s not just Peter’s girlfriend or Simon’s muse. She’s an artist.
“BVs”: Short for backing vocals, this haunting track is recorded at the precise moment the band begins to unravel. Their voices blend, but their personal lives are falling apart. The irony is devastating.
The beauty of Stereophonic is how real it feels. Every mic check, every broken string, every eye-roll from a tired engineer is authentic. You’re not watching a band perform—you’re watching them try to make something that matters.
Yes, It’s Long. But It’s Worth It.
Clocking in at over three hours, Stereophonic asks a lot of its audience. But I’d argue it gives back even more. It’s not just about music—it’s about relationships, addiction, ego, gender politics, money, and the dangerous myth of genius. And like any great album, it reveals more the longer you sit with it.
Seeing this live is like watching a documentary unfold in real time, except more intimate, more unpredictable—and at times, more transcendent.
Final Thoughts
Stereophonic isn’t for everyone. It’s talky. It’s prickly. It doesn’t spoon-feed its themes. But if you’ve ever been part of something bigger than yourself—something creative, collaborative, and almost impossible—it will hit you in the chest.
It’s one of the most immersive, transporting, and moving experiences I’ve had in the theater.
Rock. On.