Review of ‘Hit Machine’: “Josh Radnor and Noah Galvin score in music-themed family drama”

Every story has been told. And this one is no exception. Neither does it make too much effort to be. But not every show needs to be groundbreaking to work. Or to be enjoyable. And certainly, Hit Machine proves that idea with faultless resourcefulness. Not only does it take an old narrative concept and make it engaging, but it also adds a thin layer of individuality. It might not be the most original idea, but it has a pulse. And a grip. And frankly, there’s not much else that we can ask from an 85-minute play.

Wes and Alex haven’t spoken in a while. Things have never been easy at home. Their father left the household long ago. And their mother has always struggled to get her act together. Music has been an escape route for both siblings. And for West, it seems to have done wonders on the financial side. He’s become one of the most successful mainstream producers. To many, he’s a legend. But things are starting to change. His career could soon be over if people begin to think he’s lost his touch. He still has a chance to set the record straight. But his fate is in the hands of a controversial new artist he needs to convince to sign with him. Perhaps, with the unwanted help of his brother.

It would be delusional not to call the plot predictable. Basically, all its components are. But that shouldn’t be an immediate reason to dismiss it. In fact, it would be foolish to do so. Beyond the premise’s lack of novelty, Jonathan Caren’s writing demonstrates strength. It might play it safe, but it knows how to do it in a way that’s fulfilling to the viewer. For the most part, the action is highly entertaining. And a few flashes of wit and introspection permeate the script to a compelling degree.

The connection between the two protagonists is adequately explored. And for the most part, it feels satisfactory. Their complicated, love-hate relationship is portrayed truthfully and naturally. That’s actually one of the text’s greatest virtues — every structural element comes in organically, cementing its genuineness. And consequently, it underpins its resonance with the viewer.

Its cynically comical approach also contributes to the piece’s impact. Not only does it make it more appealing to a general audience, but it also serves as the personages’ coping mechanism against a traumatic upbringing. It adds subtext and shade to the narrative. And despite the humour being pushed too hard sometimes, the overall impression is of a sharp, perceptive, and, occasionally, deliciously ironic look into family ties and artistic creation.

The most poignant parts are somewhat neglected. Although there is pathos, its potential isn’t fully exploited. And inevitably, it comes across as slightly empty and unconvincing. Ultimately, the bridge between the second and third acts feels rushed. The tension escalates, but not sufficiently. As a result, both climax and resolution are somewhat disappointing. Not because of how they turn out, but because of how little space they are given.

Despite these flaws, both Josh Radnor and Noah Galvin shine in their roles. Both share exceptional chemistry and are delightfully magnetic. Their renditions brim with presence, and they display a decent level of command. Radnor’s portrayal of the disenchanted elder brother, Wes, teems with nuance and dry charm, while Galvin brings showmanship and emotional fervour to his impassioned performance as Alex, whose outer drollery hides a much more serious and broken inside.

Either deliberately or accidentally, Hit Machine honours its own explanation of what a chart-topper is supposed to be. And on a higher league, what John Kander described as the best popular music to be like. Seemingly simple and usual, the play still manages to surprise with a few unexpected executional twists — inevitable, but not necessarily cliched. Eventually, it has its own essence. And albeit smaller, its own heart as well. And although it’s not ready for a West End transfer, perfecting its cadence could make that their next gig.

All pictures credit to Bautista Araya.

Hit Machine plays at London’s Soho Theatre until 15 August. Tickets are available on the following link.

By Guillermo Nazara