Support WBUR
'Stereophonic' needs more music
A nameless five-person rock band is recording an album in a large, wood-paneled recording studio. Members of the band lay on the floor, or sit in chairs in front of the motherboard donning headphones, while others hug, kiss and converse at the start of Emerson Colonial Theatre’ s production of “Stereophonic” through March 15.
The fantastic set, with big blue speakers flanking the glassed-in recording booth, comes courtesy of set designer David Zinn, and it’s where all the action takes place. The play, written by David Adjmi, and original songs and orchestrations by Will Butler, is about a fictionalized band. They’re recording an album in Sausalito, California, in 1976, and the story is rife with the drama that comes with putting a bunch of creatives in a small space. Fleetwood Mac’s recording of “Rumours” reportedly inspired the story, and it's the most Tony-nominated play ever, according to the show’s description.
Daniel Aukin directed the play, which has all the makings of a theatrical, music-laden masterpiece. But what it lacks for me is more music. There’s just not enough of it.
The show is not billed as a musical, but I wish it were. When all of the members get in the booth and sing and play, it’s gorgeous. Holly (Emilie Kouatchou), Diana (Claire DeJean) and Peter (Denver Milord), all have beautiful voices, and Simon (Cornelius McMoyler) and Reg (Christopher Mowod) are great musicians. However, the lion’s share of the play centers on the default leader Peter’s controlling and narcissistic behavior, bass player Reg and Holly’s tumultuous relationship, Diana and Peter’s relationship, and Reg’s drinking. Simon, the drummer, spends his time managing the group’s dynamics, and eventually, after so much time in the U.S. away from his family, his wife decides to leave. For three hours, the audience hears the equivalent of only three or four full songs. Which is too bad because the music by Arcade Fire’s Will Butler is wonderful.
In addition to the band’s drama and excessive drug use, the audience learns a little about the band’s engineer, Grover (Jack Barrett), who is driven by ambition. He lies about working with The Eagles to get the gig. His sidekick Charlie (Steven Lee Johnson), who thinks Grover’s lie is nefarious, is one of the best characters. He has a fabulous long mushroom bob, from hair and wig designers Robert Pickens and Katie Gell, and tells incredibly zany stories.
For music lovers, particularly die-hard Fleetwood Mac fans and others who love behind-the-scenes fare, this play provides what feels like an authentic, birds eye view of what recording an album was like in the ‘70s. It captures the nostalgia of a bygone era when celebrities were mysterious, gifted people who could only be somewhat known through their art and 4,000-word features in music magazines.
There are many things to celebrate about “Sterophonic.” We learn why some characters are the way they are, and what they’re capable of. For instance, Peter, who works everyone to the bone, is honestly unbearable. He’s estranged from his brother, who is competing in the Olympics, and Peter refuses to watch him on TV or recognize his achievements. He’s mean to Diana and is constantly playing the victim. But he’s also a bit of a genius. After 21 takes of Diana’s song “Bright,” which they perform at a fast tempo, he insists that they try it a different way on take 22. He asks to slow the tempo down to 20 beats per minute. Then he starts stripping away instrumentation. Finally, he pushes Diana to just get on the piano and play. It’s at this moment that one can kind of understand why the group puts up with him. The song’s beauty, with Diana’s pure vocals, is undeniable, and so is Peter’s musical prowess. Also, “Dark Night,” with its distinct musical movements, and “Drive” are both magnificent.
Over time, Diana learns to stand up for herself somewhat (she refuses to cut her five verses from “Bright”); Holly saves herself and leaves Reg (it happens offstage and is recounted by Grover), who pulls back on drinking and drugging a bit, and Grover gets promoted. But Peter lacks accountability. He knows some of his failings but won’t do much about it. Simon remains the most well-adjusted.
The Stereophonic creative team including Zinn, costume designer Enver Chakartash, whose choice of a lavender satin suit makes Peter a well-dressed rock star, lighting designer Jiyoun Chang, sound designer Ryan Rumery, music director Justin Craig, and voice, text and dialect coach Gigi Buffington, all help make the show memorable. Their work, and the work of the excellent cast helps immerse viewers back in time, where rock bands reached mythical status.
And with even more music, I would happily rock on with the band.
Emerson Colonial Theatre’s production of “Stereophonic” runs through March 15.
