top of page
Search

Hit Machine review

  • Jul 26
  • 1 min read

On paper, writer Jonathan Caren’s Hit Machine has all the makings of a chart-topping smash. Featuring the London stage debuts of Josh Radnor (How I Met Your Mother) and Noah Galvin (Dear Evan Hansen), with direction from Daniel Bailey (Red Pitch) and music by Grammy-winning bluesman Ben Harper, the three-hander tackles the topics of masculinity, appropriation and buried family trauma through the prism of the creative process.


Set in the louche, soft-furnished home of music mogul Wes (Radnor), the play begins promisingly. Wayward younger brother Alex (Galvin) arrives and throws a plaid-shirted bomb into Wes’s carefully manicured and minimalist life. We begin to see how each sibling plays their role in the strained family dynamic: Wes the high-achiever on the hedonic treadmill always striving for more, and Alex the sprightly yet secretive youngster striving only for approval.


Read the review in the Guardian.


[This piece was published on 15/07/26]

Recent Posts

See All
The life and death of dubstep

One of my earliest and most formative clubbing experiences was spent in a church basement in Brixton around 2010. Age 16 and blinded by dry ice, it wasn’t the thrill of gaining entry to a club underag

 
 
 
Global Music Column – August

The Zarabanda Variations – The Zarabanda Variations Classical music aficionados will be familiar with the stately form of the sarabande – a Spanish dance adopted into a languorous and tender musical s

 
 
 
Global Music Column – July

Various Artists – Candomblé: Sacred Rhythms in Brazil The Brazilian religious and musical tradition of candomblé is a rhythmic barrage. Originating in the 19th century among enslaved west Africans, ca

 
 
 

Comments

bottom of page