Review: OCTET at Studio Theatre

Multi-talented composer, book writer, and vocal arranger Dave Malloy has created a musically eclectic, thematically relevant, and vocally complex work in his audacious and highly relevant work Octet.

This provocative and precociously talented (the artistic choice of  utilizing a cappella singing, as it is contrasted with the often intense and emotional story of an internet addiction therapy group--- seems to call out for a loud, raucous, and cacophonous orchestra) Mr. Malloy, however, veers in an unconventional direction. This  highlights the paradigm of his using an iconoclastic approach to every aspect of this utterly immersive and compelling musical (that almost plays like a chamber opera piece).

Layer upon layer of thematic content is accrued as Malloy explores musical motifs and styles, the influence of eight characters who revel and share their vulnerabilities with each other, and the overlying thematic conceit of tarot card symbols.

Director David Muse, who also serves as the Artistic Director of the Studio Theatre, intermixes and mirrors the continually shifting layers and strains of the themes in the story and in the often ravishingly beautiful yet poignant and painful notes/tones of the music. Several musical passages moved me to tears and unfathomable thoughts; yet, even in this aspect, writer Malloy “mixes his creative boiling pot” and I guffawed several times at the laughter (fraught with tears from lived experience) that was induced from the individual reveries of the characters in this therapy group. Playwright Malloy intermingles undercurrents of quirky humor with sensitivity throughout the musical ---humor is a potent  survival mechanism for these characters.

I do agree with the assessment that Walt Whitman and C.S. Lewis have been influences on this work. I also detected the same credo of Stephen Sondheim throughout the musical  ----namely that, “Content dictates form” because every textual or musical element has an analogous stylistic/theatrical corollary.

Use of the number eight concept—this musical about computer addiction ---as an analog for the compulsions, anxieties and obsessions  of the characters as they relate in a group meeting (in real time –replete with the tick- tock of a clock and/or a metronome) –incorporates the eight characters in this therapy group with the necessity of using eight singers in an octet. Perhaps the most ingenious use of number eight is the fact that a bit or byte is the smallest unit of digital information . A byte is made up of eight bits –as in the cast of eight (octet) characters.

“Candy”----about addictive computer games and sung by Angelo Harrington II---was kinetic in energy and propulsive in Mr. Harrington II’s delivery.

“Solo”---about porn versus real love---- was sung by a very unaffected Ana Marcu (as Karly), and the mesmerizing lower, resonant tones of Jimmy Kieffer as Ed made for a very reciprocal performance.

“Beautiful”  ---the heartrending and plaintive song of affirmation and acceptance sung by Velma (Amelia Aguilar)---was extremely poignant as a beneficial side of the internet was actually expressed.

“Actually” sung by the disarmingly honest character of Toby (Aidan Joyce) is a veritable showstopper in a production full of highlights. In an agonizingly touching yet raw awareness of new self-knowledge about the internet’s/technology’s harsh pull --even when the external world is being polluted, and credit cards are being maxed out, Mr. Joyce careens through his number like a blazing comet of rage with visceral and jolting intensity .

Choreographic movement by Ashleigh King is subtly interwoven to show the clamoring onslaught of the digital machine’s quasi-demonic assault (“The Monster”), the overpowering control of the internet on the mind even when the external world is being shut out (“Actually”) and in the psyche-breaking force of the powerful and harrowingly intelligent song “Little God”----(as sung by the pointedly honest character of Marvin –played by David Toshiro Crane and aided by the superb ensemble).

Tracy Lynn Olivera ---as the ostensibly sensible character of Paula -----delivers a contemplative and haunting rendition of composer Malloy’s “Glow “—as she contemplates her sleeping husband . 

As Jessica, Chelsea Williams sings in “Refresh” of the confusion wrought by the internet as her character toggles between the reality in her head and the “ostensible” reality on the computer screen.

Music direction by Ben Moss and sound design by Nick Kourtides aid immeasurably to the thrilling musical compositions by Mr. Malloy.

Mr. Malloy has created vocal arrangements of astounding depth and purity. He has provided pastorals, dirge-like effects, ominous strains/notes, meditative choruses and so much more. The musical compositions beautifully mirror the moments of immersion, attempted withdrawal, and/or complete detachment of the characters who are in group therapy in the musical.

Scenic design by Debra Booth is creative as well as highly functional—a rotating stage is  used to stimulating effect as some of the ensemble stands stationary while others in the ensemble walk on the perimeters of the stage space to create contrast. A table of refreshments is used interactively as the actors in the therapy group---as well as the audience---partake of cookies and cups of refreshing tea.

Lighting design by Mary Louise Geiger is very evocative with lights from lamps on tables that blink  in unison and variegated hues that envelop a grid of stained glass hanging from the rafters above.

Highly interactive form mirrors the content. Actors walk and sit in the aisles. Actors walk around on the periphery of the stage while sharing the same tea table that the audience utilizes. An interesting approach was taken by the theatre for this production : To immerse the audience in detachment from digital stimulus, each member of the audience is required to place their cell phone in a locked pouch before the show—only to be unlocked after the show is completed. Personally, as a firm believer in audience etiquette, I think this should be an applied rule in all theaters!

The interactive approach adds to the audience feeling that they themselves are in therapy ----especially, since this musical is presented in the round ---quite appropriately, on an octagonal stage (to carry through with the theme of “eight/octet”).

A  tentative hope that escape from digital influence is possible is shown with little peaceful musical pieces such as in the song “Hymn: The Field” and in the ritualistic “Tower Tea Symphony” as well as in  repeated choruses/motifs that are emphasized Zen -like repetitions of singing soothing chorale musical mantras such as “oom” in a beautiful, soothing counterpoint to the more super-charged moments in the score.

One could view this extremely ambitious musical as more of a niche-like piece or a cult musical as the presentation and the content is very specialized and esoteric--- yet the universal and highly cautionary themes of this timely musical, regarding the toxic outcomes possible in the digital age, are decidedly mainstream.

With the increased presence of artificial intelligence (AI) and the increased sense of human disconnection, Dave Malloy’s unique theatrical and musical vision is timelier than ever. Do not miss this creative production that defines the dangers of the digital presence now ----while also reminding us to be aware of the small epiphanies of life as we carefully navigate the dismal prospect of a dystopian future.

Running Time: One hour and 40 minutes with no intermission.

Octet runs through February 22, 2026, at the Studio Theatre located at 1501 14th Street NW, Washington, DC, 2026.