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

★★★★

“An elegant production. A swell party indeed. What a swellegant, elegant party this is!”

There’s a bit of a bluesy, Southern vibe about the Mill at Sonning’s “High Society”; as though we’re on the banks of the Mississippi rather than Long Island’s North Shore. Yet at the same time there’s a feel-good fifties swing that flits between the New York plaza suites and a high school prom reunion. For the senses this is an intoxicating mix that makes you feel as lightheaded as the bubbles in the constantly flowing champagne onstage. It takes a little while, however, for it to find its flavour.

The musical draws from the 1939 play ‘A Philadelphia Story’ and the 1956 musical film ‘High Society’. The original Cole Porter songs are all there, with others from his catalogue thrown into the mix for the stage version, slotting into the narrative with varying degrees of success. A narrative that is, on the surface, flimsy, flirtatious and fun. There is some underlying social commentary about class, but overall, it is a backdrop to the music, and it relies on the delivery and the snappy dialogue. Joe Pitcher’s revival focuses on the razzmatazz with glitzy performances from the lead players, ensemble and musicians alike.

It is the summer of 1958, an evening aglow with a warm setting sun. Preparations are underway for the wedding of society-divorcee Tracy Lord (Victoria Serra) and George Kitteridge (Will Richardson). Tracy’s first husband, Dexter Haven (Matt Blaker), gate-crashes events with predictable results as he tries to win back the affections of his first wife. Meanwhile a tabloid newspaper possesses embarrassing information about Tracy’s wayward father and has coerced the family into allowing reporter Mike Conner (Matthew Jeans) and photographer Liz Imbrie (Laura Tyrer) to cover the nuptials. Thus begins a tangled web of romances and revelations.

“the gorgeous splashes of colour from Natalie Titchener’s sumptuous costumes wash across the stage in time to Jaye Elster’s dazzling choreography”

Pitcher’s immersive staging allows the audience to feel like they are guests at the party, the auditorium being an extension to the sumptuous drawing room where most of the action takes place. Chris Whybrow’s sound design evokes the festivities spilling outside; to the gardens, the pool and down to the moonlit beach where Dexter’s yacht is moored. The band wander into and out of view, while the gorgeous splashes of colour from Natalie Titchener’s sumptuous costumes wash across the stage in time to Jaye Elster’s dazzling choreography. But when the music pauses, for the most part the dialogue lacks the quick-fire lightness of touch that Arthur Kopit’s book requires, leaving the lines to be dragged back by an earnestness that dims the twinkle in these characters’ eyes. There are exceptions. Victoria Serra is quite a force to be reckoned with as Tracy Lord; sometimes angry, often drunk and always playful. Katlo, in her professional debut, is a pure bundle of joy as Lord’s little sister Dinah, and a name to watch out for. When the tabloid hacks waft in to ruffle a few feathers, we get a real sense of the fifties film’s original showmanship and delivery. Jeans’ smooth-talking, all-knowing journalist melts hearts left right and centre while, despite his dubious occupation, his own heart nobly aims Cupid’s arrow away from himself to let ‘true love’ blossom in the correct place.

In fact, none of the performers fail to melt our hearts during the musical numbers. The ensemble harmonies are exquisite, while the solo moments scorch as they weave seamlessly between the smouldering ballads and the flaming Latin passion that fires Cole Porter’s songs, courtesy of Jerome Van Den Berghe’s arrangements. A brave approach, but fans of Cole Porter will not be disappointed. as each cast member take their turn to lend their beautiful vocals.

“High Society”, although not particularly festive, is a Christmas treat that you can’t afford to miss. An elegant production. A swell party indeed. What a swellegant, elegant party this is!

Tag Archives: Jerome van den Berghe

STEREOPHONIC

★★★

Duke of York’s Theatre

STEREOPHONIC

Duke of York’s Theatre

★★★

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