THEATER IN STEREOPHONIC

A terrific docudrama about artistic
temperament and the torment of creation

David Adjmi’s Stereophonic, now playing at the CIBC, is an unusual piece of theater. It’s not about learning any life lessons, or coming to terms with things, and with one notable exception, none of the characters have a growth arc; further, most of them are profoundly unlikeable. Concerning the tumultuous recording of a rock album, the play follows the recording progress of a quintet of musicians—definitely not supposed to be Fleetwood Mac—from 1976 to 1977 and is simply a sharp observation of the art of creation. Now there have been plays about the creative process—Sunday in the Park with George and Red immediately come to mind—but Stereophonic doesn’t quite fit alongside them primarily because it is so defiantly and rigorously detached. The play doesn’t expect us to identify with the artists or even understand the urge; it just wants us to see how the process works.

Jack Barrett as 'Grover'

But before we get into the details of that, let’s talk about that set. We NEED to talk about that set. I’ve always felt that with a truly great play, the set should be ultimately extraneous. It should work in a black box, in a theatre in the round, or in a school auditorium. And this is true of Stereophonic; it would work without the set, but by God, does that set help. David Zinn’s justly Tony-winning scenic design is a fully operational recording studio constructed on the stage with an elevated live room stage rear and the control room downstage center. Some levels by the wings and scattered bean bags complete the look. The decor is pure 70s wood paneling and the level of detail is astounding. Adding to the verisimilitude is Ryan Rumery’s fantastic sound design. Sure it’s a gimmick to be recording live on stage in every show, but who’s going to quibble when the overall effect is so damn good.

The First National Tour Cast of Stereophonic

The unnamed rock group consists of two married couples, one American comprising the lead guitarist/producer Peter (Denver Milord) and vocalist Diana (Claire DeJean), the other British comprising the bass player Reg (Christopher Mowod) and pianist/ vocalist Holly (Emilie Kouatchou), the four of them rounded out by the drummer, Simon (Cornelius McMoyler). Rounding out the cast is Grover the engineer (Jack Barrett) and his assistant (Steven Lee Johnson).

Claire DeJean as ‘Diana’, Emilie Kouatchou
as ‘Holly’, and Denver Milord as ‘Peter’

There isn’t a plot per se. The play opens with a recording session and closes a year or so later with an argument about which song to cut for time from the final track list. In between, there are shocking amounts of cocaine snorted, fights over songs, arrangements, lyrics, click tracks, and lots of marital arguments that eventually lead to the dissolution of both couples. And a host of terrific original songs composed by Oscar and Tony nominee Will Butler, best known as part of the original line up of indie rock band, Arcade Fire.

Cornelius McMoyler as ‘Simon’ and Christopher Mowod as ‘Reg’

The first two acts (prior to intermission) climaxing with the rousing live recording of “Masquerade”—which definitely does not sound like it could be a track on Rumours—is nigh perfect, even with the occasionally clunky dialogue. There is a considerable dip post-intermission when the play starts to lean more into cliché and some unfortunately broad comedy but it’s still entertaining though I did wonder if the play needed to be three hours long given the filler. I also wondered if the CIBC was the right venue for the show. Despite the “bigness” of its music and themes, Stereophonic is a surprisingly intimate play and is probably better suited to a smaller theatre. The CIBC’s gorgeous but cavernous space frequently overwhelms the actors.

Jack Barrett as 'Grover' and Steven Lee Johnson as 'Charlie'

And fine actors they are too. The musicians perform beautifully as a tight ensemble, none of them competing with each other—crucial in this kind of show—but the star of the show for me was Mr. Barrett as Grover; functioning as the audience surrogate, he is the odd man out here, unqualified for the job—he gets it because of resume padding, or so he thinks—Barrett’s Grover evolves through the play so subtly but surely that when he starts to assert himself, even if it means contradicting five colossal egos, it doesn’t come as a surprise. As the show goes on, he is drawn into their orbit, part of the group when things work, and the outsider to be blamed when not. It’s a great if non-showy role, and Barnett does a marvelous job of it.

Denver Milord as 'Peter', Christopher Mowod as 'Reg',
Claire DeJean as 'Diana', and Emilie Kouatchou as 'Holly'

Director Daniel Aukin keeps the focus on the music. No matter what happens between these characters outside the live room, everything comes back to the songs and the album. And in this decision, I found the play’s parallel. Not on stage but on film, in some of the features made by the legendary Robert Altman. Altman made several movies about artistic invention. Not all were equally successful but they followed the same blueprint that’s used here, in particular, his underrated, minor-key masterpiece Company that follows the workings of the Joffrey Ballet. The five musicians in Stereophonic are all narcissists and their hubris (Peter) and self-absorption and neediness (Diana) is frequently grating, but they are not so full of themselves that they won’t briefly set aside their egos for their music, or accept criticism even from the lowly engineer if it means the song will be improved.

Claire DeJean as ‘Diana’ and Denver Milord as ‘Peter'

That last suggestion, eventually forced on them by Grover, leads to one of the best performed ensemble performances I’ve seen on stage as the musicians, realizing that they’ve hit a groove, perform with an increasing exhilaration that spreads outside the live room to the engineers and spills off stage into the audience. As they pour out of the room on a creative high, Reg, who was responsible for the argument over timing, jumps on Grover’s lap embracing him with pure, unfettered joy. All the animosities, arguments, and insults are temporarily forgotten.

Because even to these spoiled, self-centered musical superstars, all that ultimately matters is the final work of art.

And then the song is cut from the final track list even before the album is completed.

So it goes.

The First National Tour Cast of Stereophonic

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photos by Julieta Cervantes

Stereophonic
national tour
ends on February 8, 2026, at Chicago’s CIBC Theatre
3 hours with one intermission
for tickets, visit Broadway in Chicago
tour continues; for cities and dates, visit Stereophonic

for more shows, visit Theatre in Chicago