Category Archives: Reviews

STEREOPHONIC

★★★

Duke of York’s Theatre

STEREOPHONIC

Duke of York’s Theatre

★★★

“when it does come together, the result is musical magic”

Michael Lindsay-Hogg’s 1970 documentary film, ‘Let It Be’, used two film cameras that rolled from the moment the first Beatle appeared each day and continued recording until the last one had left. It wasn’t the first film of its kind, and it certainly hasn’t been the last. But it was appraised for its fly-on-the-wall glimpses into the dynamics and tensions that would lead to the band’s break-up. But criticised, too, for its indulgence. Such exercises can indeed be dull and draggy and are often only rescued by the subjects’ celebrity and enjoyed by the fans. It is therefore quite a risk to construct a fictitious band, give it the same treatment, and then unleash it onto a theatre audience as a three hour play with music.

“Stereophonic” follows an unnamed British-American rock band on the cusp of superstardom as they struggle to record their new album. Set in the mid-seventies, it takes place solely within the confines of a recording studio in California. The time and place are both beautifully evoked by David Zinn’s nostalgically perfect set complete with its working reel-to-reel deck and analogue desk. Enver Chakartash’s choice of costume is equally in tune with the post-hippy, West-coast vibe. The band has a strong resemblance to Fleetwood Mac, not necessarily in appearance but in its line up and relationships within. A lawsuit filed by the author of the Fleetwood Mac memoir, which was settled out of court, didn’t dampen the play’s success on Broadway last year, breaking the record for the most Tony Award nominations.

There is no getting away from the uncanny comparisons to the real-life band. In writer David Adjmi’s thinly veiled counterpart we follow the shenanigans of married couple bassist Reg (Zachary Hart) and keyboardist/vocalist Holly (Nia Towle); longtime partners guitarist/vocalist Peter (Jack Riddiford) and singer Diana (Lucy Karczewski); and drummer Simon (Chris Stack). It is quite a long time before we get to sample some of the music they are making, composed by Will Butler – former member of the indie rock band Arcade Fire. It takes a long time for anything to happen. In fact, the play takes a long time. Period. Or rather, full stop – in honour of the three-to-two majority of British members in the band. The performances, however, do allow us to get to know the characters quite swiftly. Riddiford plays the control freak who surreptitiously adopts the role of producer and is abusive to his bandmates and his partner, Diana. Karczewski’s performance as Diana is the most gripping, as she pieces together her confidence despite Peter’s damaging swipes, eventually conquering all and outgrowing the collective success by securing a lucrative solo contract. Hart’s Reg epitomises the coke-addled bassist who is more interesting in his brief flashes of sobriety than his shouty, shallow jibes. Towle’s Holly is torn between rejecting and accepting her husband’s behaviour, finding solace in her music and her friendship with Diana. In the midst is Stacks as the drummer, Simon, not just the backbeat to the band but the backbone to the line-up. Peacemaker and therapist, but even so, not averse to occasionally throwing his own tantrums.

It is a world of booze, cocaine, coffee and cigarettes. Tempers fray frequently (too frequently), but everyone is exhausted by the recording sessions that constantly creep into the early hours. We occasionally feel the same. The stop-start frustrations in the sound booth often cut short the beautiful moments of the music. And inside jokes can outstay their welcome. How long does it really take to tune a snare drum? We are furiously willing the actors along in their attempts to settle artistic differences – but when it does come together, the result is musical magic. Butler’s compositions perfectly suit the setting and are beautifully performed by the cast. Both Karczewski and Towle have the voices that can easily give Stevie Nicks and Christine McVie a run for their money.

No recording studio can function without the engineers. Eli Gelb and Andrew R. Butler are Grover and Charlie, the ill-fated, tech-wizards at the console who are often the uncredited heroes of the day. In this respect, Gelb and Butler are the saviours of the show too. A breath of fresh air, they provide the comic relief that is much needed, and also the most memorable and believable characters. Hilariously absurd but in tune with the precariousness of their position. Dismissive of the egos they are working with but knowing how to pitch their servility just right to keep their jobs. Until they’ve had enough, that is.

There is no denying that this is a microscopic and detailed look at the blood, sweat and tears of genius. Art isn’t easy. It takes time. “Stereophonic” certainly latches onto that requirement. A literal translation of the drawn-out process of making an album. There are moments of pure genius in this play, but they are buried under the weight of self-indulgence and multiple takes.



STEREOPHONIC

Duke of York’s Theatre

Reviewed on 14th June 2025

by Jonathan Evans

Photography by Marc Brenner

 

 

 


 

 

 

 

 

 

Previously reviewed at this venue:

BARCELONA | ★★★★ | October 2024
AN ENEMY OF THE PEOPLE | ★★★★ | February 2024
BACKSTAIRS BILLY | ★★★★ | November 2023
MUCH ADO ABOUT NOTHING | ★★★★ | February 2023

 

 

Stereophonic

Stereophonic

Stereophonic

SCOUTS!

★★★½

UK Tour

SCOUTS!

Hope Mill Theatre

★★★½

“will warm your heart and bring a genuine smile of delight”

Enter the high-stakes, competitive, life-affirming world of scouting, where we join the competitors preparing for the final of ‘The Scout Games’. The winning of the only ‘gold badge’ (hand stitched by Baden-Powell) is the goal of both the scouts on stage and the audience members (scouts and leaders themselves at this performance) who are game enough to join in a range of hilarious tasks. However, there is a saboteur at large, a disillusioned and ‘poor loser’ Scout from a previous ‘games’, intent on causing mayhem and discrediting the very core reputation of the organisation. Through many trials and catchy numbers too, good triumphs over evil, the power of true friendship wins through and we all learn what is important in life and in the scouting movement: to help other people, make friends and learn new skills.

Gigglemug Theatre worked closely with the Scout Association and has tried here to capture the essence of scouting, from the gaining of social and life skills amongst children who might otherwise feel ‘outsiders’, to the chaotic world of camping, competing for badges (real and, here, imagined, such as the ‘hypnosis’ badge) and learning how to win and lose gracefully.

Sam Cochrane (director) made some memorable decisions (the gold dust sprinkled gold badge, for one). Katie Pritchard as Rosie brought great physicality and comedic timing to her role, with superb vocals from both Eleanor Fransch as Eliza and Emily Kitchingham as Charlotte. Burhan Kathawala charmed as the somewhat vulnerable but ultimately brave Joe. Kemi Clarke led the pace and energetically portrayed scout leader Dylan. Rob Gathercole (also musical director / keyboards) was in his element playing the over-the-top and improbably talented (being skilled in many areas including healing missing limbs) Linus Lionheart, the TV personality and former scout who was the role model for the competing scouts. The cast all played multiple instruments and were on stage almost the whole time. At times, the number of instruments and changes was a distraction to following the narrative and I would have preferred to listen to the vocalist perform without a guitar, for example. However, this does not take away from the recognition of the multiple skill sets required for this audience-engaging performance, with the pace only struggling a little in the second act.

The musical numbers feature an enjoyable range of genres, from 1950s style rock and roll, to rap and pop. Definitely not ‘found a peanut’ singalongs, the music is carefully crafted by David Fallon (music and lyrics) and Sam Cochrane (book, lyrics and direction) with solos, duets, and ensemble multi-part numbers being used to advance the plot and characters as well as to introduce many favourite themes loved by scouts, such as the ‘scout law’. Indeed, the lyrics were so full of information that I did spend some time trying to catch each word and wondering if I needed to remember the facts being dropped in. Perhaps the relative complexity of some of the music and plot was a mismatch for the younger members of the audience, but ‘The Trance Dance’, ‘Bad Badge’ and ‘Home’ were particular favourites.

The set (three drop down banners) was cleverly simple and effective for this touring production, which was needed when the stage is so full of musical instruments – I counted eleven plus a kazoo! Using three ‘tree stumps’ for the awards also gave an interesting stage height difference when needed.

Gigglemug Theatre’s touring production of their latest feelgood musical theatre show, is a fun exploration of the core positive messages of scouting, which will warm your heart and bring a genuine smile of delight, whilst enjoying the frolics of this energetic cast of actor-musicians.



SCOUTS!

Hope Mill Theatre the UK Tour continues

Reviewed on 14th June 2025

by Lucy Williams

Photography by Benkin Photography

 

 


 

 

Previously reviewed by Lucy:

SLAVE: A QUESTION OF FREEDOM | ★★★★ | THE LOWRY | October 2024
WAR HORSE | ★★★★★ | THE LOWRY | September 2024
EDWARD’S TALK: WHAT’S DRIVING YOU? | ★★★ | EDINBURGH FESTIVAL FRINGE | August 2024
GODFATHER DEATH: A GRIMMS’ MUSICAL | ★★★★★ | EDINBURGH FESTIVAL FRINGE | August 2024

 

 

SCOUTS!

SCOUTS!

SCOUTS!