REVIEW: Stereophonic on Broadway

Getting The Band Back Together

A recording studio with a nice glass of Tension. That is Stereophonic in a nutshell. In a way it was what I was expecting, and yet I felt so differently than I thought I would. The “Most Tony-Winning Show of the Year” pushes aside melodrama and high external stakes for a more shrewd take on interpersonal relationships in entertainment. I observed a more natural approach to these characters. It left me relating not to the action, but to the words. It also makes it look easy. No easy feat, which is why the play deservedly won the 2024 Best Tony Award. I worry I am just adding to the hype, but there really is something special happening at the Golden Theatre. It is a long play, for sure, but once you are in, see you on the other side.

The stage is already set when you enter the theatre. A simple concept: a band is recording their new album. We have:

Grover (Eli Glib) and Charlie (Andrew R. Butler), the engineers behind it all in the studio.
Reg (Will Brill) and Holly (Juliana Canfield), a married couple going through…a lot.
Simon (Chris Stack), the hyper-vigilant drum player.
Diana (Sarah Pidgeon) and Peter (Tom Pecinka), a couple also going through…a lot.

The dynamics of the entire show rest upon their interpersonal relationships. Yes there are fights and yes there is (great) music. There is also mundanity. Moments where the audience starts to feel a bit of the “just finish the recording already” along with the characters. The writing can be on-the-nose, but the actors are so believable it is hard not to think that this is a real band recording a real album. The heart of the show shines through in Act IV, where Peter has a breakdown and Diana is comforting him. Peter has driven everyone away with his perfectionism. Diana should not be comforting him, but if you have ever been in either position, you know how hard that can be. The relationship is over, it’s already spelled out, but it still choked me up a bit that no matter what anyone has done to each other, there is still room for love of another person. I found the writing so subtle, so personal, and yet so universal. No melodrama or throwing of chairs. Just subtle actions aligned with believable dialogue.

When Grover sits in front of the sound board at the very end of the play, I found myself wanting just a little bit more. A sweet spot that felt oh-so-good to be in. Now don’t mind me as I listen to “Masquerade” on repeat.