Review: 'Stereophonic' National Tour Brings the Chaos and Beauty of Creating a Hit Album to Life
- Dan Sattel
- 2 days ago
- 4 min read
On opening night of the national tour at The Smith Center, Stereophonic: The Radio Edit arrived with the weight of Broadway glory behind it. Several of the performers are reprising their roles from the original Tony Award–winning production, which made history in 2024 as the most‑nominated play ever with 13 nominations and ultimately won five Tonys, including Best Play.
From the very first scene, we were transported into the raw, electric world of a 1970s recording studio. Huge nods to the expert direction of Daniel Aukin and the realistic scenic design of David Zinn. You really feel like you're inside the studio. The play not only captures the thrill and turmoil of a band chasing perfection, but also the way the characters’ personalities mesh, combat, and ultimately lend themselves to the beauty of the music. The strife of its composition becomes the very thing that gives the songs their power - echoing the real-life drama behind Fleetwood Mac’s Rumors, where fractured relationships and creative tension birthed one of rock’s most enduring albums.
The seven-member ensemble was pitch perfect. Every actor brought nuance and authenticity, making it feel less like theatre and more like we were eavesdropping on real studio sessions. Some standout performances worth mentioning:
• Jack Barrett as Grover — layered with insecurity and drive, haunted by the fear that others see him as an imposter. What makes this even more remarkable is that this was Barrett’s first professional performance. To see him embody Grover with such raw honesty and restless energy felt like watching a career ignite in real time. We’ll be following his journey closely, because if this debut is any indication, Barrett is an actor we’ll be hearing much more about.
• Claire Dejean as Diana — her vocals soared with both power and fragility, embodying the emotional heartbeat of the story. What deepened her arc was the revelation — not shown, but learned — that Peter has sold her guitar. That act effectively strips her of her “literacy,” her ability to speak in the language of music on her own terms. The absence of the instrument is chilling: it’s gone, yet its loss reverberates through every scene. Dejean played Diana with quiet resilience, turning her voice into rebellion, reclaiming space in a room that tried to silence her.
• Cornelius McMoyler as Simon — grew to personify the father of the band, much like Mick Fleetwood himself. He was the steadying presence, the one who tried to hold the group together as egos and insecurities threatened to tear it apart. His grounded energy gave the production its backbone, reminding us that even in chaos, someone has to keep time.
• Denver Milord as Peter — embodied the spirit of Lindsey Buckingham, brimming with creative brilliance but also the sharp edges of control and ego. His decision to sell Diana’s guitar wasn’t just a plot point; it was a devastating assertion of power, a reminder of how genius and cruelty can coexist in the same person.
The music, composed by Will Butler of Arcade Fire, pulsed with immediacy. It evoked the spirit of the 1970s without ever feeling like imitation. Instead, it felt like stepping into the studio during the making of Rumors — watching the combustible mix of love, betrayal, and brilliance under pressure transform into something timeless.
What made the night unforgettable for us wasn’t just the artistry on stage, but the way it touched our family. We brought our young daughter, Livia, who sat with us in the front row, completely captivated. At the curtain call, the cast gave her a nod and even a round of applause. The look on her face was pure magic — a moment of connection that reminded us why live theatre matters. It’s not only about the story being told, but about the shared experience between performers and audience.
It also became a teaching moment. On the drive home, we talked with her about some of the adult themes she had seen — especially the portrayals of drug use and addiction. We framed it as part of the story’s honesty, showing how destructive choices can ripple through relationships, life, and creativity. It was a reminder that theatre doesn’t just entertain; it opens doors for families to have important conversations that matter. For Livia, it was a spark of curiosity and understanding; for us, it was a chance to guide her through it with care.
That said, families should know that Stereophonic includes mature themes — drug and alcohol use, strong language, and the raw edges of adult relationships. While Livia loved the experience, parents may want to consider whether younger children are ready for that content before attending.
Stereophonic: The Radio Edit is more than a play — it’s an immersive rock documentary brought to life on stage. With standout performances from Barrett, Dejean, McMoyler, Milord, and the entire ensemble, it’s a production that lingers long after the final chord fades. And now that we’ve seen the “radio edit,” coming in at just under three hours, we can’t wait for the chance to experience the full version in all its uncut glory.
Stereophonic plays at the Smith Center in Las Vegas October 21-26, 2025.
For more tips, trends, and inspiration, be sure to follow FoodFamilyTravel.com on social
Instagram: @food.family.travel
Tiktok: @FoodFamilyTravel