Stereophonic

(seen at the preview performance on 2nd June 2025)

When films are “test screened” with the public, producers often try different endings, add or delete scenes, to see what the feedback is like. When an independent studio tested “Thumbelina,” they found adding “Disney” to the opening credits more than doubled the satisfaction rating.

The monkey suspects that had this play been presented under the name “Annie Baker” at the National’s Dorfman Theatre, it would already be a sell-out smash hit. Basically, if you enjoyed “The Flick,” this is for you. If you are interested in any way in the creative process behind a music album, this is also very much for you.

David Adjmi is a Michaelangelo with words. Carving credible characters from solid rock over three hours playing time in a year of their lives. His cast can rely entirely on the text, with Daniel Aukin keeping movement and tempo adjusted as smoothly as a mixing desk channel’s slider.

Finely attuned to each other, we watch as a group of childlike musicians and technicians create something intellectual and timeless. The beauty of Adjmi’s work is the rich texture of interactions allowing it to happen as innocuously as real life - until a sudden realisation of how far we have come is revealed... as week as the true price paid...

West End debut actor Lucy Karczewski fascinates as Diana. Initially unaware victim of partner Peter’s (Jack Riddiford) emotional undermining, a simple, fey soul crushed, but delightfully changing over time.

Riddiford is the perfect self-entitled articulate maestro. Extreme in everything he does, it was interesting that a “show stop” of 20 minutes during his and Karczewski’s most intimate scene only allowed them both to gain extra energy. Later scenes are dynamite – the final revelation a wondrously telling few words.

Drummer Simon (Chris Stack) gets his own terrific scene, crashing his way through the most difficult role in any band with lustrous style.

Other couple Reg and Holly (Zachary Hart and Nia Towle), bassist and pianist respectively shine equally. Hart is indeed the heart in the group. A musician, the musician, all about only the music. A lost moment, a generosity realising what really matters, humane with both comedic and biting edge.

Towle gets all the emotional intelligence friend Diana lacks. The strength to know what is going wrong and the wisdom to find space. Their final scene together could spin off into a sequel of its own in just a few lines – Towle’s eyes alone writing much of that story.

Songs by Will Butler are a finishing touch. Solo or choral, they invoke the era, provoke the soul. Andrew R. Butler and Eli Gelb as mixing desk masters Charlie and Grover make the most of their own sub-plots, Gelb the ambitious with a secret, Butler a ‘delightfully sometimes’ steadying influence.

In the world they inhabit for far longer than expected, the technical desk and recording booth set by David Zinn are the delightful browns and silver of the era, Enver Chakartash’s costumes matching perfectly – Diana’s orange dress and footwear eliciting squeals of delight from several envious ladies.

Jiyoun Chang manages to incorporate realistic studio lighting in the set’s ceiling, with the real production lights set out in the auditorium. You know that something important is happening whenever the booth’s illumination changes, adding to the drama.

Most of all, Ryan Rumery makes an exceptionally complicated sound design seem simple. Switching between ambient conversations, recording sessions and the mixer board’s output happened effortlessly. Flawlessly clear and always impressive.

If you can afford seats in the front rows, the effect is simply of “being there.” Even further back, this disparate group of artistes will exert a grip as strong as any cult band might.

The journey is as emotionally revealing for those concentrating as it is for the characters. There is a reason this play is the most nominated in Broadway Tony award history. Take this track, it really cuts through.

Upper circle C21, preview price £33.95 incl fees.
The ticket said "restricted view due to curve of auditorium, may miss the rear of the set". I sat here for Shirley Valentine and had no issues, but the way Stereophonic is staged meant I felt like I missed most of the action - apart from what took place in the sound booth at the back. I could only see the left of the stage (stage right) and the sound booth without obstruction. Everyone leaning forward in front to see stage left over the circle's curve meant the mixing desk centre stage was mostly obscured too. Uncomfortable experience, this felt very expensive for what was possible to see.
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For Stereophonic, Row H in the Upper Circle is a disastrous choice. The show uses the full depth of the stage with the musicians in the recording studio at the rear. This part of the stage cannot be seen at all from Row H. 
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An awful lot of allusions to Fleetwood Mac and a lot of things to laugh and learn. I enjoyed that from the very first minute. A solid cast recording with a a soundtrack that could have well been written in the 1970s. If you definitely want to criticize anything, then it's the fact that it is very long indeed. But that's really the only thing.

5 bananas.
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Royal Circle, A5 (19th August 2025). Add me to the list of people who like this seat very much. Plenty legroom, and no safety bar or other annoyances.

Maybe a tiny tiny part of the front house left stage is cut off, but I can't see it being a problem. I think that the set and the blocking cause view problems for quite a few people in this theatre, so that is something to think about perhaps. More than useful when getting a seat for this, which you should do, because it's good.

The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Note:

Note that act one is 1 hour 45 minutes long, act 2 is 1 hour 15 minutes long, and there is an interval of 15 minutes.

Venue Box Office & Current Prices

LoveTheatre.com

Stereophonic
LOVEtheatre charge around 10% booking fee per ticket. They are owned by Ambassador Theatre Group (ATG) and often have good deals on shows at ATG venues.

Woman In Mind 
LOVEtheatre charge around 10% booking fee per ticket. They are owned by Ambassador Theatre Group (ATG) and often have good deals on shows at ATG venues.

TodayTix

Stereophonic
TodayTix charge between 10% and 20% booking fee per ticket. Discounts are often available as this is a large global ticketing company with this specific aim.

Ticketmaster

Stereophonic
Ticketmaster charge around 8% to 10% booking fee per ticket. Handling fees may also be added. This is the largest ticketing agency worldwide.

London Theatre Direct

Stereophonic
Londontheatredirect.com charge between 10% and 25% booking fee per ticket. Discounts are frequently available. Part of Trafalgar Theatre Group, known for customer service and unique offers.

See Tickets

Stereophonic
Seetickets.com charge around 10% booking fee per ticket, plus £2.75 per booking (not per ticket) postal charge. They are owned by ticketing group Eventim.

RUSH TICKETS: App Todaytix are offering £30 “Rush tickets,” located at venue discretion, usually standing places, for all performances. Released for the performance on that day, first-come, first-served. Download the App from Todaytix.

ACCESS SCHEME: Those aged under 30 can buy up to 2 tickets, located on stalls, dress circle and upper circle levels for £30 each at all performances. A maximum of 30 tickets are available at each performance, first-come, first-served at stereophonicplay.co.uk/ticket-information until they are sold out. Proof of entitlement will be required, and both ticket users must qualify for this scheme.