This leaves the audience satisfied and invigorated
Hit Machine (directed by Daniel Bailey) arrives at Soho Theatre with a sharp, funny, and emotionally perceptive exploration of two brothers attempting to untangle years of resentment as the fractures in their relationship are illuminated to one another. Jonathan Caren’s play examines success, masculinity, and the uneasy power dynamics that can so often exist between siblings, all set against the relentlessly social-media/image-driven backdrop of the modern music industry, writes Leo Dunlop.
Josh Radnor plays record-label executive Wes, a man who has obscured his view of the past behind wealth, status, and piles of platinum records. His carefully curated world is disrupted when his younger brother, wannabe pop star Owen (Noah Galvin), arrives at his newly acquired mansion, hoping for both refuge and opportunity. What begins as an awkward reunion gradually exposes years of jealousy, disappointment, and emotional avoidance.
The action unfolds almost entirely within Wes’s immaculate home studio, decorated with awards and the luxury of fizzy bottled waters. The restrained set design creates an intimate arena for the performances, while the studio’s sliding glass doors provide literal reflections that quietly reinforce the play’s concern with identity and self-perception. As the brothers circle one another, old rivalries resurface. Their exchanges are laced with competitiveness and wounded pride: Wes insists he won’t simply hand success to his brother, yet it becomes increasingly clear that his reluctance stems as much from a desire to preserve his own power as from any belief in meritocracy.
Caren’s script manages to bring us into the very modern world of the music industry as Wes desperately tries to sign the up-and-coming star ‘Defy the Leader’ (Khalil Madovi). It’s in the language and wit of the script that gives the story such momentum; there’s much to discover about the characters and world as the dialogue rallies between them. Contemporary references and industry jargon can often feel self-conscious or quickly become dated, but here they are woven naturally into the dialogue.
The performances are uniformly strong. Radnor is particularly impressive, delivering a portrait of a man whose confidence masks deep insecurity and exhaustion. It is a testament to his performance that he quickly sheds the familiarity of his role in How I Met Your Mother, disappearing entirely into Wes’s brittle, tightly controlled persona. Noah Galvin provides an effective counterbalance, bringing vulnerability and humour to a character desperate to be recognised on his own terms.
At just 75 minutes, there are moments where the play could benefit from a little more breathing room. Certain emotional revelations arrive in quick succession, and a touch more silence or reflection would have allowed the brothers’ relationship to develop with greater complexity. Interestingly, the piece often feels strikingly cinematic; its crisp dialogue and contained setting would translate naturally to the screen.
While the broad direction of the story becomes apparent early on, Hit Machine earns its conclusion through the emotional honesty of its characters. Just when it appears to be settling into a familiar resolution, the play delivers a final surprise that leaves the audience satisfied and invigorated.
Hit Machine will undoubtedly bring in huge audiences.
Original music by Ben Harper and CJ Harper.
The play runs until August 26th.
Booking and full details: https://www.hitmachine.london/
