HIT MACHINE
Soho Theatre
★★★★
“the writing is witty and natural, delivered with authenticity by the actors”
For a play that is not much longer than the average long playing record, playwright Jonathan Caren’s “Hit Machine” crackles with more energy and tension than any piece of vinyl could ever hope for. The scratches embedded in the narrative never halt the narrative’s momentum; instead, the slight jumps make us look at the protagonists in a different way. Caren scours the grooves of his story – set in the modern-day music industry – with a very sharp needle.
The days of 45’s and 33’s are long gone – instead we are in today’s climate of streaming and viral videos (the latter adding an integral layer to the plot). Two brothers are meeting for the first time in quite a while. Wes (Josh Radnor) is a successful music producer, who seems to have lost his mojo, living beyond his means in a nine-bedroom house somewhere in America. His younger brother, Alex (Noah Galvin) has turned up with his head full of hit-song ideas, but empty pockets. He’s not holding out a begging bowl, as Wes suspects though. Just a plea for his songs to be produced. The fact that he is forcibly discouraged by his big brother is a rich theme in itself as it dredges up past rivalries and collaborations; but the play focuses on darker and more personal issues that shape their personalities.
They share the same upbringing, but with very different reactions to it. An abusive father looms large, but the memories are refracted in blindingly opposing directions. Wes was driven towards a means to accumulate wealth to escape, Alex just needed a dream to chase. Caren doesn’t give out too many details, but we certainly feel the essence as the pair duel like manic musicians fighting for their solo. Alex is – initially at least – the more vulnerable underdog, with Galvin giving him a wonderful neediness that is never obsequious. He can certainly give as good as he gets, and Galvin’s shift from rejection to determination is matched by his seamless shifts from anguish to humour. Josh Radnor’s Wes should have the upper hand, but his character’s insecurities keep pulling him down. Radnor gives a masterful performance of a man clutching at anything that will keep him afloat. Even if it means casting off the weight of his past – which includes his brother’s reliance on fraternal support.
Caren throws a third character into the mix. The rising star, ‘Defy the Leader’, has just been signed to Wes’ record label. A cool portrayal by Khalil Madovi, he adds further fuel to the fires that burn in the hearts of the brothers. When ‘Defy’ shows interest in Alex’s tunes, much to Wes’ horror and disapproval, Madovi very cleverly and subtly shows his character’s disdain towards the elder brother’s fragile self-importance.
Throughout, the writing is witty and natural, delivered with authenticity by the actors. Daniel Bailey’s direction enhances the dynamics, throwing the light and the shade into sharp contrast. He knows when to go for the laughs, and when to switch the momentum away from the comedy. There are, indeed, some devastating moments in the dialogue, especially later when the sparks truly threaten to ignite the tinder box of emotions. A moment of physical violence unfortunately dampens the effect, and could perhaps be dispensed with. Coming to actual blows is less powerful than the language. Contrary to the popular catchphrase, words often do hurt more than sticks and stones.
For a play about the record industry, the music itself takes a bit of a back seat. Instead, though, it slots effortlessly into the dialogue; almost conversation pieces in themselves. Unresolved ideas and chords emerge like memories, or even forewarnings, until the pieces come together for a thrilling finale, performed by Madovi (who co-wrote the music with Ben Harper and CJ Harper). At least the music finds its resolution (I’m not giving any more away).
What makes a hit record, is a question that has eluded producers since the first hit parade was introduced. Similarly; what makes a hit play? Again, the answer is vague, but Caren’s “Hit Machine” is sure to rise up the charts.
HIT MACHINE
Soho Theatre
Reviewed on 14th July 2026
by Jonathan Evans
Photography by Bautista Araya
