For legal reasons, David Adjmi and Will Butler’s play is absolutely not about the recording of Fleetwood Mac’s 1977 album Rumours. But like that famous album, it is a dizzying amalgamation of influences, mercurial talents and creativity that sits among the defining achievements of its generation. And like Fleetwood Mac, too, it is hard to pinpoint precisely what witchy alchemy makes Stereophonic work so well.
Suffice it to say that it does. The play is a masterpiece. A must-see by all accounts. The legendary 13 Tony Award nominations and smash-hit period on Broadway, followed by doubly-extended runs in London’s West End (where I saw it) are fully deserved.
The play follows a group of musicians in their recording studio in late-1970s California putting together an album that, once again, is expressly not Fleetwood Mac’s Rumours. For a play that is about a band on the verge of titanic artistic, critical and popular success, the principal theme of the work is failure. Or rather, how to learn and grow from it: how to cut a great track; when to cut and run from a toxic relationship; what to keep or cut from our chequered lives so that we can carry on living.
