shares both a hyper-naturalistic style and a sprawling three-hour running time with that 2013 masterwork. But the similarities end there. Chronicling a turbulent year in California recording studios during which a fictional 1970s rock band labors over the follow-up to their breakthrough album, this is an immersive plunge into the fraught process of artistic collaboration as pressures mount and interpersonal harmony dissolves into acrimony.
But those similarities are merely the skeleton on which Adjmi hangs his riveting study of making art out of emotional turmoil. Every one of the band members is a fully fleshed-out character, and while some of them may share traits with their Fleetwood Mac counterparts — Peter, the egomaniacal control-freak, tracks closely with revelations about Buckingham that have emerged over the years — nothing feels borrowed.
Reg’s diet of bourbon and blow becomes a problem, not just in his marriage to Holly but in his discipline with the work. Diana, while showing early signs of emerging as the band’s breakout star, is insecure about her lack of musical literacy. “I can’t be a rock star and be this stupid,” she moans. When Peter, who repeatedly undermines her shaky self-confidence, tells her to lose the tambourine, she has a mini crisis about what to do with her hands .
The sexual politics of the era are evident not just in the attitudes of the male band members but also in the often wickedly funny idle banter between Grover and Charlie. But the play’s central conflict is the fissure that widens between Peter and Diana, who have been together nine years. A stranger to tact, he constantly talks down to her and grows impatient with her insecurities, which have roots back in their struggling early days when she held down a crappy job so he could focus on music.
The attention to even the smallest detail of this environment will make the play especially enticing to musicians with studio experience, but it’s never inaccessible to audiences lacking in specialized knowledge.
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