“Stereophonic”: Music Exposes Bullies & Honors Heroes—at The Curran
The First National Tour Cast of Stereophonic. Photos by Julieta Cervantes
David Adjmi Mixes 70s Rock’n’Roll with American Bosses
by Barry David Horwitz
In a beautiful wood and glass studio in Sausalito, 70s rock’n’roll conflicts unfold under a microscope. The women singers are exploited, as they try to produce heartfelt songs, while fearful engineers deal with coke-addled bosses. David Adjmi’s Best Play of 2024 exposes their unforgettable struggle for independence.
In “Stereophonic,” co-produced by ACT and BroadwaySF, David Zinn’s magnificent wood paneled studio holds two young engineers struggling against odds to make the music work. The naïve engineers hilariously juggle the male singers’ wild demands, supplying cocaine from “the sack.”
“Stereophonic” shows the nitty-gritty of creating commercial music. Adjmi tears the veil from male gaslighting that oppresses women and naïve workers. Director Daniel Aukin makes every scene, movement, and riff dynamic.
The drama mixes delicious, rapid-fire dialogue with breathtaking dramatic pauses.
Claire DeJean, Emilie Kouatchou, and Denver Milord
When fragile Diana (superb Claire DeJean) sings the haunting song “Bright” by Will Butler, we are smitten by her voice and her bravery. She sings to escape being “forced” by her domineering husband, Peter (powerful Denver Milord). Diana finally flies free, finding her own way, a thrilling musical moment.
Diana and Holly (rock-solid Emily Kouatchou) inspire us by finding their humanity in the face of fame-obsessed, ruthless men. As a female singer and pianist, Holly sticks with Diane as they face down assaults from deluded men.
These titanic conflicts unroll while the music contains their pain. Based partly on Fleetwood Mac’s “Rumors,” “Stereophonic” deserves its acclaim for displaying the cost of creativity in a narcissistic culture. Sadistic bosses bully their “inferiors” and excuse it in the name of art. Peter may be talented, but he’s a hellish boss.
When Peter viciously lashes out at his “subordinates,” engineer Grover (sympathetic Jack Barrett) bears his wrath. As Grover, Barrett delivers a unique, best-of-show worker’s tirade at incredible top speed! Grover and his sidekick Charlie (hilarious Steven Lee Johnson) deliver astounding monologues as they tremble under Peter, the Bully-in-Chief.
Jack Barrett and Steven Lee Johnson
The show reflects today’s power imbalance that splits us into warring camps. The singer/producer bosses treat their “subordinates” like shit.
Diana slowly becomes aware of Peter’s obsessive menace, an extraordinary history of sexual domination. Diana realizes that Peter is “forcing” her to do his will in their marriage, as in their music.
Milord’s Peter has a thousand-mile stare and is driven by greed and competition. DeJean’s Diana brilliantly finds her way toward wholeness.
Egotistical Peter tries the same tricks with British drummer Simon (Cornelius McMoyler), who struggles to keep his tempo. Simon captures our hearts with an astounding slow burn.
The band’s founder, Reg (electrifying Christopher Mowod), kicks his coke and booze habits just in time to deliver an astounding monologue about Sausalito. Reg confronts his past selfishness in a stunning scene with Holly.
If you want to know what male toxicity means and how it works in the ‘70s music biz, this is the play for you. And we all know the gaslighting still goes on. Diana, Holly, and Grover are lighting the way. See “Stereophonic” for a revolutionary new vision.
“Stereophonic” by David Adjmi, original music by Will Butler, directed by Daniel Aukin, scenic design by David Zinn, costumes by Enver Chakartash, lighting by Jiyoun Chang, sound by Ryan Rumery, by ACT & BroadwaySF, at The Curran Theatre, San Francisco.
Info: broadwaysf.com – to November 23, 2025.
Cast: Jack Barrett, Claire DeJean, Steven Lee Johnson, Emilie Kouatchou, Cornelius McMoyler, Denver Milord, and Christopher Mowod.