Stereophonic (Broadway touring) at Kauffman Center, Kansas City, MO 2026-04-07 to 04-12

You’re a fly on the musical wall, watching a band record what could be a breakthrough or a breakup album and either way, things will never be the same-

That’s the general premise of Stereophonic, the most Tony Award-nominated play of all time, currently on its first national tour, and making a stop in downtown KC on stage at the Kauffman Center through this Sunday night, as part of the current PNC Broadway in Kansas City season.

Written by David Adjmi, directed by Daniel Aukin, and featuring original music by ex-Arcade Fire co-founding musician Will Butler, the production went on to win 5 Tony Awards including Best Play and Direction (Aukin), Scenic Design (David Zinn), and Sound Design (Ryan Rumery). Enver Chakartash (costume designer), Jiyoun Chang (lighting designer), Ryan Rumery (sound designer), Justin Craig (music director), and Gigi Buffington (voice, text, and dialect coach) round out the show’s creative team.

It’s the summer of 1976 and we begin in a small recording studio as an up-and-coming dysfunctional rock band are recording their new album with a producer/engineer and assistant, manning the boards. As band disagreements ensue, the recording process continues …and continues (including a studio move from Sausalito to LA) as the group battles creative and personal struggles, in hopes to end up with a final product that everyone involved can agree upon and be satisfied with.

The comparisons to Rumours/Tusk/Mirage-era Fleetwood Mac are strong, so much so that the creators had to settle with Mac producer Ken Caillat (father to pop singer Colbie) who accused the show of adapting his memoir, without proper permissions. Squint and you can imagine the McVie’s arguing among themselves, Stevie and Lindsey fighting for creative control of songs, and Mick behind the kit, tweaking his settings to achieve the right drum sound.

The show dares itself in several ways- the run time is close to three hours (shortened from the original Broadway run), overlapping dialogue (similar to what director Robert Altman did in films like ‘The Player’ and ‘Nashville’), and a single-set that offers more of a behind-the-scenes look, versus any forward moving plot.

Those devices make the show naturally uneven, often fascinating at times witnessing the creative process at work, and revealing of the in-studio madness of endless takes, technical adjustments, false starts, and ego battles about how exactly the band will sound at their best.

This means a mixed bag for the songs featured- many of Butler’s compositions are heard only in part, only to be re-started, or suddenly stopped to argue about a tone or rhythm. The true gratification comes as a euphoric release when the group finally locks in together, and performs a full song, a reminder of why all the tension and creation chaos, can sometimes result in something brilliant.

The touring cast as a whole, is a cohesive revelation- each is honestly and authentically playing their instruments and singing their harmonies, while portraying the disparate personalities of each member that knows they still have a special chemistry when all can work together.

Grover, the engineer that helms the sound board (played earnestly by newcomer Jack Barrett) becomes the audience’s surrogate to subtly anchor the production with an understated grace and Steven Lee Johnson as the often-overlooked assistant, Charlie, provides much of the comic relief and together they have a sort of ‘odd couple’ dynamic.

The understated intimacy of a play set in a recording studio is somewhat compromised in scope by being staged in a larger theater setting, but the on-point lightning, expert stage design, and well-crafted sound design and mix, do help to bring some of that intimacy inward.

As the artistic process of recording becomes extended and drawn out, the paradox of creative collaboration becomes more clear- that it can be transcendent as well as destructive and the true cost of struggling to make a career-defining album is the human price of the fragile and emotional connections left in its wake.

Like real life, Stereophonic is imperfect and sometimes chaotic, but is also ambitious and unafraid to confront the uncomfortable and is a reminder that no celebrity or famous band is above the pain of perfecting a song or senseless in-fighting. The hope is the prize that results in the end, was worth all the effort. Take in this play with that patience, and you’ll be rewarded with the revelation of how meticulous the creation process can really be.

STEREOPHONIC TOUR DATES

04/07 – 04/12 Kansas City, MO Kauffman Center

Apr 15-26 Charlotte, NC Knight Theater
Apr 28–May 3 Tampa, FL Straz Center
May 8-10 Dallas, TX AT&T PAC

National Tour Photo Credits: Julieta Cervantez

National / International act coming through the Midwest / Kansas City area? Please email details to johnc@weheartmusic.com with a good lead time to be considered for Show Preview and Show Coverage consideration.