Review: Hit Machine, Soho Theatre

On taking my seat in Soho Theatre’s Main House, I chat to the theatre-goer next to me, and we both comment on whether we’ll be able to forget that the actor on stage is Ted Mosby from How I Met Your Mother. A blessing and a curse for any actor who’s played an iconic role in a sitcom for nine seasons, it means you’re guaranteed audiences to fill the seats, but it’s a challenge to make them believe you’re anything other than your synonymous role. 

In Jonathan Caren’s play Hit Machine, Josh Radnor plays a hot-shot music producer in his LA home adorned with platinum discs and 8 bedrooms, 9 if you count the guesthouse. His little brother comes to visit, and their jovial teasing and catching up soon descend into a more violent reunion. He’s frequently on his phone, checking in with Post Malone and other famous clients. His character is a familiar sight in the industry, yet Radnor does seem a little stilted in the role at times, whether that be an intentional aspect of the part or not; it struggles to translate to stage at the beginning.

Meanwhile, Noah Galvin, who plays his younger brother, lifts the energy of the play with his cheeky nature and cute mannerisms. Galvin creates a character who is utterly believable, so much so that you find yourself wanting to head to a bar in Brooklyn and talk music with him. Compared to his brother’s somewhat jaded producer lifestyle, his passion for music is still raw and exciting. Some of the highlights of the show come from watching him messing around with the laptop, creating new beats and songs. 

Compared to his brother’s energy, Radnor’s character is somewhat subdued and jaded. He’s tired of life; he’s trying to solve problems and make algorithm-friendly hits, not create groundbreaking music. Radnor plays the part well, and the physical similarity between the two brothers is remarkable. However, he does seem to be working a bit harder on stage. Despite this, the final moments between the brothers are intense and believable. 

Khalil Madovi appears on stage for a short amount of time, but his energy is palpable; when we’re treated to his musical performances, there’s a tangible shift in the room as the power of his voice makes us all sit up. It’s a short play at 90 minutes, and if it were to be extended, we should have more of Madovi and his music, which he has written for the show. 

The set is effective in showing a typical music producer’s house; platinum discs reach up to the ceiling and a large sliding door is reminiscent of homes you imagine every successful person has in LA. One flaw is the fact that, from my seat in row B, I can’t see much of the action when they’re sitting on the sofa and very little on the floor, which is a real shame as this is where the finale happens. Ticket prices vary for the show, but with a peak of £74, you’d hope for a better view.

This is a fun play; there’s plenty of laughs along the way, including a particularly funny analysis of Call Me Maybe which I’ll be using the next time I talk about music, but there’s also a real intensity to the drama towards the end and a fragility which is moving. The play seems to end very suddenly, just as we’re starting to get to the core of the brothers’ dramatic relationship. But perhaps this is for the best; we’re left wanting more with the music ringing in our ears. 

Written by Jonathan Caren
Directed by Daniel Bailey
Music by Ben Harper & CJ Harper
Additional Music & Lyrics by Khalil Madovi
Set & Costume Design by Amelia Jane Hankins
Lighting by Laura Howard
Sound design by Khalil Madovi
Movement Direction by Sam Asa Pratt
Produced by Juliet Herman and Kate Gordon

Hit Machine runs at The Soho Theatre until Saturday 15 August