Arts

Daniel Aukin’s incredibly immersive production does an uncanny job of capturing the artistic experience.

“Stereophonic” at Emerson Colonial Theatre, through March 15.

Lights up on a recording studio in Sausalito, California. “Bass drum,” says a young engineer as he works through each instrument during a sound check. It’s 1976, and an undisclosed rock band is set to record their next big album. But it’s day three, and tensions are already high. 

In an incredibly immersive and authentic production, “Stereophonic” at the Emerson Colonial Theatre leaves audiences on the edge of their seat as they can’t help but wonder: Will this band reach a breaking point that cannot be repaired?

In terms of structure, “Stereophonic” doesn’t feel like your typical play. The rise and fall of action occurs at different times for each character as they explore their dynamics with one another, while also coming to terms with who they are themselves. And spoiler alert: Most of the time, it’s not pretty. 

The three-hour play isn’t marked with plot points as much as it’s mapped by moments of contention and emotional breakdowns. And yet, the natural inclination to invest in playwright David Adjmi’s characters is enough to not only make the show work, but to make it stick.

Directed by Daniel Aukin, “Stereophonic” is the show for the audience member whose interest is in the business of people. While an ensemble show in nature, the play conducts an in-depth character study on each of its band members, as well as the sound engineers trying to keep their sanity as they are pushed to the brink of exhaustion trying to record these songs.

Claire Dejean’s portrayal of Diana displays an empowering arc as the audience watches her take back her agency in the throws of an emotionally abusive relationship with her husband and bandmate. The whiplash of watching the scattered, anxious nature of her character become grounded in numerous stellar vocal performances was cathartic, especially as she finds her note (both literally and metaphorically) at the top of Act III.

Denver Milford’s Peter elicited many audience vocalizations, from moans and groans as we watched him minimize the feelings of his peers and refuse to take accountability nearly every chance possible, to an empathetic sigh when we discover, that hey, even the nastiest people have their heart in the right place, sometimes. Charlie, played by Steven Lee Johnson, quickly becomes a fan favorite with his dry humor and awkward nature, despite his unintentional anonymity working with the band as one of the two sound engineers alongside Jack Barrett as Grover.

The incorporation of the musical elements and songs is fascinating to watch unfold and a true highlight of the production. With original compositions by Grammy Award-winning Will Butler of Arcade Fire, the play’s musical sequences are just as meaningful as the dialogue between characters. 

I would not recommend coming into the production expecting an album’s worth of performances. It’s a play, not a musical after all. Whether we have the privilege of listening to a few full songs, or maybe just a verse and a chorus depending on how the band thinks the take is going, their commitment to portraying a realistic rehearsal and recording process lends itself well to a true “fly-on-the-wall” experience.

Failing to mention David Zinn’s set would be a severe wrongdoing. The duel-level studio is transformative. Between the sound board taking center stage, the glass that separates the control room from the live room, and the booths where the musicians spend a good chunk of their time on stage, this set is not just for show; it’s practical. The realism of the space complements the script’s intentional moments dedicated to the musical process. 

The final act begins with Peter, Diana, and Holly (played by the electrifying Emilie Kouatchou) recording a trio of tight harmonies that scratches just the right part of the brain. But, as most of the show entails, things can only go so right before they go wrong, and shortly after a channel on the sound board goes offline, the group is in-fighting once again. 

This exact sort of “up and down” motion of the show is what makes this four-act play so engaging. One moment, you’re laughing profusely at a rambling monologue or a jest between collaborators, and the next, you’re letting out a breath you didn’t even realize you were holding in as the tension between characters grows and subsides. 

If you’re searching for some big takeaway from Stereophonic, I’m not sure you’re going to find it. Sure, the characters share some enlightening anecdotes about life, but the grueling process of recording leaves audiences with a sense of defeat more than a lesson. However, if you’re looking for a real and raw presentation of the artistic experience, this production is not one to be missed.

The most Tony-nominated play of all time, the first national tour of “Stereophonic” is now playing at the Emerson Colonial Theatre in Boston through Sunday, March 15. Tickets can be purchased here.

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