Stereophonic mines the agony and the ecstasy of creation as it zooms in on a music studio in 1976, where an up-and-coming rock band finds itself on the cusp of superstardom. Written by David Adjmi, directed by Daniel Aukin, and featuring original music by Arcade Fire’s Will Butler, this electrifying new play takes audiences inside the powder keg process of a band on the brink of blowing up.
The play opens on Friday, April 19 at the John Golden Theatre on Broadway.
I've heard a lot of good things about this play, but it hasn't really been on my radar all season. Even without looking at the previews thread and reading/seeing audience reactions on social media. I'm very intrigued.
Looking forward to seeing these reviews - I'm coming into town next week but only have time for 4 shows and have been agonizing... from what I've seen on here I may have to make this a priority.
Of the shows I've seen so far (still missing Mary Jane/Mother Play), this is definitely my pick for Best Play. I don't necessarily expect unanimous raves, but I do think the reviews will be very very good.
Single ticket popped up on Telecharge for tomorrow night. Rear mezzanine A 101 for $40. I put it in a cart, which should expire in about 5 minutes, in case anyone wants to pop over there and try to grab it.
I saw the play last night, and of all the plays I've seen so far this season, I also think it's Tony-worthy. I was impressed with the entire ensemble, especially as all but Will Brill (who I think deserves a nomination for actor in a featured role) are making their Broadway debuts. If there was a Tony for ensemble... THIS show! I wasn't completely satisfied with the play's ending, but it's such a weak complaint. I'm really hoping the reviews are glowing as this play definitely deserves the love.
The review embargo is up to the press agent and producer and there are no rules. Film review embargoes are sometimes at midnight!
11pm lets people enjoy themselves at the party a bit before reviews drop. Because catering to diehard theater fans who wait up for reviews is not a priority for any sensible press rep, it doesn't really matter how late they drop because the vast majority of people won't see them till the next day.
The start time for the opening can also be a factor. Sometimes an opening will start at 5 or 6 pm, but other times they have a normal curtain time and don't want reviews coming out at intermission (and openings usually start late and intermissions are unintentionally longer than normal).
Wishing this show nothing but amazing reviews: saw it on Wednesday and was blown away. I think the race for Best Play is going to be incredibly interesting this year, and we're all lucky for it.
TaffyDavenport said: "Single ticket popped up on Telecharge for tomorrow night. Rear mezzanine A 101 for $40. I put it in a cart, which should expire in about 5 minutes, in case anyone wants to pop over there and try to grab it."
Did you get the ticket? HAHAHA!
NO JOKE, that was my ticket!!! - Earlier today, I exchanged the ticket for a May 11th one, since a family event popped up. (Thank to this board, I became aware of that fact that ticket exchanges were even possible! - I would have never thought that was an option on my own!) - Nice to see they put it back up for sale & at the price I origially paid for it!!!
"Audiences may feel the same way after seeing this work of theatrical virtuosity, realizing that all the tiny details, wild rhythms, and clever hooks presented on stage have added up to a work that is brave, purposeful, and rich."
"Even if you’d never consider spending one of your three genie wishes to travel, invisibly, back in time to witness the legendarily volcanic creation of that most fabled rock masterpiece known as Fleetwood Mac’s Rumours, you’d do well to check out Stereophonic, a masterpiece in its own smaller way."
‘Stereophonic’ Theater Review: David Adjmi’s Audaciously Original Play Is a Transfixing Look at Building Art Out of Emotional Wreckage
Daniel Aukin’s lauded production, featuring new songs by Will Butler of Arcade Fire, transfers to Broadway with its gifted ensemble of actor-musicians intact.
"It’s also a stunning feat of scoring by Adjmi — whose hypernaturalistic script captures the ebb and flow of overlapping speech both inside and outside the studio’s sound room — and by director Daniel Aukin and composer Will Butler. Aukin and the show’s stellar cast play Adjmi’s rigorously constructed, deceptively casual prose with as much exactness and audacity as the actors, all playing their instruments live, pour into Butler’s songs: Smart, well-crafted tunes that blend the folk and blues and prog vibes of the ’70s with the soaring indie yearning of Butler’s former band, Arcade Fire. (There’s a cast album on the way.) The show is part concert and part breakup drama, part sound-design marvel (Ryan Rumery is the hero responsible) and part beautifully observed period piece (everyone’s legs look dynamite in Enver Chakartash’s bells and flares, and that lovingly intricate set is by David Zinn). But it’s the thing Adjmi conjures up at the end of Act One that makes Stereophonic such a meaningful and exceptional piece of work: In its bones, it’s a love song, bittersweet and wounded and ferociously loyal, to the act of making art — specifically, art that requires that most exhausting, infuriating, transcendent element: collaboration."
"At over three hours long, Stereophonic never feels like too much. And the extended runtime works to the show’s advantage in that it puts the audience into marathon mode with the band itself as they approach a year of recording and re-recording. It’s a riveting, painful, funny, intense, toe-tapping journey, and the end result can best be described as solid gold."