Review: STEREOPHONIC National Tour Presented by Broadway In Chicago

David Adjmi’s STEREOPHONIC pulls back the curtain on making a rock album — with all of the minute details, inane band member conversations, and painstaking, spirited artistic conversations that come with it. It centers on an unnamed Fleetwood Mac-esque band in the late 1970s as they record (and deliberate over) their newest album at a studio in California. If diving deep into the minutiae of the recording process excites you, STEREOPHONIC is your ticket. Fans of DAISY JONES AND THE SIX — both the Taylor Jenkins Reid novel and the Amazon miniseries based on it — will love this. 

Adjmi’s play takes naturalism to the max. That means it’s not for everyone. The band members don’t just discuss the art here — they also have several mundane conversations about their lives, consume copious amounts of weed and booze, and of course, argue over song arrangements. This is a slow burn. Adjmi’s play has a clear arc, but the real story emerges at the end of the first act. Accordingly, I think the first act could use a trim. 

It’s ultimately a satisfying build. As the band spends more and more late nights at the studio, the more their relationship dynamics surface.

The play also doesn’t take the album recording track-by-track or even take-by-take. Instead, Adjmi catches the band at crucial moments, often several takes deep into songs. Arcade Fire’s Will Butler has also composed some electrifying songs. The music is darn good and absolutely has that ‘70s rock vibe. The songs are catchy and compelling.

Adjmi also has cleverly shown us a band at a crossroads with pressure to build on recent success. Lead singer Diana (Claire DeJean) has a song from their previous album still topping the charts, and she remarks that her gynecologist asked for an autograph...during her exam. The pressure the band feels to capitalize on their momentum is clear, especially in the eyes of their self-proclaimed leader Peter (who’s also in a relationship with Diana). 

The tricky dynamic between Diana and Peter — and their battle of songwriting wits — is core. Denver Milord is an enjoyable performer, but he absolutely plays Peter as a “punchable” mansplainer (which seems impossible to avoid). He often wheedles Diana to cut verses from her songs, and he’s excruciatingly specific about what he wants from the band’s recordings...taking the band through take after take after take, much to the chagrin of sound engineer Grover (Jack Barrett) and his assistant Charlie (an appealingly daffy Steven Lee Johnson). 

Peter also often spars with drummer Simon (Cornelius McMoyler), while keyboardist and backing vocalist Holly (Emilie Kouatchou) and bassist Reg (Christopher Mowod) navigate the dissolution of their marriage.

The muddy intertwining of professional and personal relationships forms the heart of STEREOPHONIC, and it feels entirely true and honest to real band dynamics. I think Adjmi really nails the chaotic messiness of that, and the ensemble does as well — often switching from disclosing deeply personal issues to jumping right back into the next recording session. 

While the play shows the actual recording process in action, I’d like to have seen further glimpses into the songwriting process. The members often bring songs fully fledged to the recording studio. I’d have liked a clearer understanding of their credentials. Peter comes across as purely a self-righteous mansplainer, but I’d love to know if he truly had superior songwriting chops to Diana.

The performances — and especially the vocals — are all excellent. DeJean is magnificent as Diana. Her singing voice is absolutely hypnotic; I was immediately drawn in every time she sang and couldn’t get enough. She shines particularly on the tracks “Bright” and “Masquerade.” 

The overall effect of the band is similarly entrancing. When they put their personal issues aside to make music, they really rock out. The play also often teases bits of songs, but when you hear them in full, they’re wonderful. And while he doesn’t do much singing, Barrett is a winsome protagonist as Grover — who’s clearly trying to make a name for himself producing the album. 

STEREOPHONIC is a play that rewards patience. At almost three hours, it’s a long journey to the finish. Adjmi has beautifully captured in it the simultaneous torture and thrill of making an album and navigating messy interpersonal band dynamics. But listening to this group sing the songs in full is pure pleasure. 

The Broadway In Chicago engagement of STEREOPHONIC runs through February 8, 2026 at the CIBC Theatre, 18 West Monroe. Tickets are $40-$135.