RECOMMENDED
Since its debut in 2023, the musical-play hybrid “Stereophonic” has caused quite a stir, earning a record-breaking thirteen Tony Award nominations along with five wins (including “best play”) following its extended run on Broadway in 2024-2025. The production is about a rock band unexpectedly hoisted into superstardom and how they deal with the strain that comes with fame. Written by playwright David Adjmi, with music by former Arcade Fire member Will Butler, “Stereophonic” is set firmly in the mid-1970s in a recording studio. The story contains strong resemblances to the legacies of bands like The Who, Led Zeppelin and especially Fleetwood Mac, whose recording sessions for its “Rumours” album are echoed here. The work makes its Chicago debut, directed by Daniel Aukin, at the CIBC Theatre through February 8.
The most intriguing aspect of “Stereophonic” is its placement and format of music. The story is about a band originally commissioned to spend several weeks recording a new album who find that their previous album is unexpectedly soaring up the charts; the record company immediately extends their contract and budget, which turns a few weeks into a year-long session. The mirroring of the recording process results in mostly snippets of songs (with only a few at full-length), with music by Butler that superbly captures the dream-like, ethereal quality of the seventies soft pop-rock aesthetic. Though one feels like we’re missing out by not hearing complete tunes, the musical interludes serve the function of supporting the story.
The politics inherent in the recording process—how best to tune an instrument, what songs get cut out, who gets to contribute and who makes the decisions—is a metaphor for family trauma, questions of identity, social power roles and the effects of drug addiction. In “Stereophonic,” less is more, and the careful placement of songs to develop the narrative and not merely react to it elevates the work to a unique dimension of storytelling.
The band’s journey is indicative of popular rock ‘n’ roll mythology. The pressure-cooker setting brings the members’ personal indignation to the forefront, as in the intensifying screaming matches between burgeoning superstar Diana (Claire DeJean), and her boyfriend, the overtly critical and domineering bandleader Peter (Denver Milord). Easygoing Simon (Cornelius McMoyler) is slowly driven insane by a persistent rattle in his drum set and is degraded by having to use a click track. Bass player Reg (Christopher Mowod) tests the others’ patience by living exclusively on whiskey and cocaine, and keyboardist Holly (Emilie Kouatchou) feels like an outsider. Watching the band destroy itself from within is like watching a family fall apart. Meanwhile, studio engineers Grover (Jack Barrett) and Charlie (Steven Lee Johnson) are trapped in what becomes a madhouse, forced to bear the abuse of a roomful of narcissists.
The drama can become overbearing, with overtly long, anxious pauses punctuating the chatter in most scenes. But the music comes to the rescue, just enough to release the pressure on stage and among the audience. Songs like “Campfire Masquerade,” “Domino” and “Seven Roads” are in the style of Fleetwood Mac, including tight harmonies, detailed instrumentations and rapturous timbre. The standout is “Bright,” performed by DeJean in multiple variations that showcase a broad range of pop-vocal stylings. Others are short excerpts but packed with musical hooks, and their constant recapitulations give one a real sense of what it’s like to be a recording artist.
A modern take on a tale of classic rock, “Stereophonic” earns its reputation as a riveting and intense drama, an innovative musical-play hybrid that is rocking the theater world. It’s a production well worth the experience during its limited Chicago engagement.
Broadway In Chicago presents “Stereophonic” through February 8 at CIBC Theatre, 18 West Monroe. Tickets are $40-$135, available at broadwayinchicago.com.
