If you’ve ever dreamed of stepping inside a 1970s recording studio, get yourself to the Duke of York’s Theatre right away. Set designer David Zinn has meticulously crafted the environment, from the intricate control console to the worn-out furniture of the mixing suite, complete with a fully functional recording booth that draws the eye upstage. As the fictional band gathers behind the glass, the tension of their high-pressure situation becomes immediately palpable.
David Adjmi’s music-infused drama, featuring songs by Will Butler of Arcade Fire, has made its way from Broadway with an impressive array of Tony nominations, alongside a recently resolved lawsuit due to claims that its plot closely mirrors the making of Fleetwood Mac’s most famous album. If you’re familiar with the names Lindsey Buckingham and Stevie Nicks, you’ll likely recognize their parallels in Peter, the band’s controlling force, and Diana, who yearns for independence as her star ascends.
The burdens faced by their fellow band members are equally heavy. Bass player Reg grapples with his addiction, spiraling as the group nears a chart-topping breakthrough. Zachary Hart’s portrayal pulsates with a tragicomic energy, while Nia Towle, as his wife Holly, feels the toll of his struggles. Even Chris Stack’s peacemaker Simon is pushed to his limits by the incessant buzz from his drum kit.
Directed by Daniel Aukin, the production mirrors the precision and honesty of the script. Sounds and voices meld as microphone channels are adjusted; moments of silence are steeped in boredom and fatigue. Amid the tinkering and drawn-out scenes, there are bursts of creative brilliance, including a late-night revelation so electrifying that it resonates with your very core. The cast, who play their own instruments, believably portray a band with years of history, and Lucy Karczewski, as Diana, possesses a captivating voice even during vulnerable moments in a tense overdubbing session.
Behind the mixing desk, Eli Gelb and Andrew Butler revisit their Broadway roles as the inexperienced yet ambitious engineer Grover and his clueless sidekick Charlie. Grover starts as a comic relief character, eager to sidestep the band’s emotional turmoil. However, like every other character—including Jack Riddiford’s irritatingly brilliant Peter—he evolves empathetically throughout the band’s tumultuous year. At over three hours long, it may feel as indulgent as a lengthy Pink Floyd track, but it serves as a striking allegory for the obsession with artistic perfection and the devastation it often leaves in its wake.
Catch it at the Duke of York’s Theatre in London until October 11.
What do you think?
Show comments / Leave a comment