Stereophonic Review

There’s no denying the unmistakable echoes of Fleetwood Mac and the making of their album Rumours in David Adjimi’s award-winning play. Now playing at the Duke of York’s Theatre, Stereophonic is a raw, authentic and deeply human portrayal of a fictional band in the 70s while they record their next studio album.

Set in 1976, Stereophonic takes place inside the recording studio as a band wrestles with the technical and emotional labour of creating their next big album. Under Daniel Aukin’s finely tuned direction the production fully immerses the audience in the behind the scenes process like we’ve been dropped into a fly-on-the-wall documentary.

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David Adjimi’s writing is the show’s greatest strength, and occasionally its only weakness. The naturalistic dialogue feels effortlessly authentic capturing the rawness of real conversation. The long, often meandering scenes give a palpable sense of the monotony and madness of being locked in a studio for months. However, at 3 hours and 15 minutes (including an interval) the play does demand some patience. It is clear that this has been done with intent to capture the Groundhog Day and mundane-ness of recording an album. This is a clever device but some scenes did linger too long without driving the plot or deepening our insight into the characters. A tighter edit may have sharpened the impact without losing the feeling of the piece.

David Zinn’s simple but smart set deign only adds to the idea of a confined studio space. It cleverly adds to the claustrophobia of the experience. As an audience member you end up feeling trapped with the band – mirroring their own frustration. The lack of any scene change only intensifies the tension, making the silences and unspoken moments all the more powerful.

The cast is absolutely flawless. Each performer brings depth, vulnerability, and truth to their role. This creates a band of distinct and interesting characters. The dynamics between them feel real and lived in. Each member of the band embarks on their own emotional journey and ends the play in a completely different place to where they started. Will Butler’s electrifying original songs are brought to life by the incredibly talented cast. In particular Lucy Karczewski delivers a standout performance. In moments like the creation of the song ‘Bright’, the audience genuinely feel like they are part of something magical – a lightbulb moment where something clicks when writing a new song.

Enver Chakartash’s costume design instantly transports us to the ‘70s, with vintage sourced pieces that feel completely authentic. The attention to detail and colour palette used helps to ground the play in time, without feeling at all caricatured.

Drugs and alcohol are a persistent theme throughout the play. What begins almost comically, with a giant bag of cocaine that earns a laugh, soon darkens as it becomes clear that these substances are their survival. The play doesn’t shy away from the darker side of fame including addictions, the mental strain, relationship breakdowns and emotional isolation. It begs the question... is the art worth the personal turmoil that it brings?

Thankfully there are lighter moments with the two sound engineers (Andrew R. Butler and Eli Gelb), whose humour offers a much-needed moment of comic relief in between the heat of the arguments. Their presence doesn’t just undercut the tension however; it often enhances it by showing the contrast between them and the storm brewing on the other side of the glass.

In the end, Stereophonic isn’t just a play about making music; it’s about the cost that comes with making something incredible. With stunning performances, unforgettable music and an immersive atmosphere it doesn’t just entertain – it resonates.

Don't miss your chance to see this award-winning play at The Duke of York's Theatre in London. Book your Stereophonic tickets now with London Box Office, now booking until 11 October 2025.

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