Chelsea Williams, Aidan Joyce (back to camera), Jimmy Kieffer, David Toshiro Crane, Tracy Lynn Olivera (back to camera), and Ana Marcu. Photo by Margot Schulman.
“Content is not connection, is not consensus, is not contentment.” In a time where even the most diligent of brains have misplaced their ability to differentiate between social and parasocial, addiction to the assorted dopamine-inducing tech outputs requires deep intervention. Studio Theatre’s production of Dave Malloy’s avant-garde, a cappella musical, “Octet,” offers just that for all who are willing to get off their phones and listen.
…witty, profound, and impeccably paced…Studio Theatre nails it…the most artistically stimulating experience in any medium of recent memory…innovative musical theatre.
“Octet” is an exploration of the distinctly analogous facets in which the monster (the internet) can take over any fool’s life unwittingly. Through eight, seemingly purposeful vague characters at a techoholics anonymous meeting in a church basement, this story blends spiritual lore and pseudo-philosophical symbolism to visualize the endless possibilities of a life without tech-damaged neuroplasticity.
Studio’s DC premiere production of the show drops its audience into the tech-addict support group immediately upon entrance as ushers lock away electronics and offer a coffee/tea set-up in the corner to all. Fittingly staged and blocked in-the-round, director David Muse’s version of “Octet” situates the circular audience as an extension of the chamber choir of addicts on stage. The set itself, designed by Debra Booth, is cognitively accessible in its simplicity: scattered lamps, a circle of plastic chairs, and supportive pamphlets balanced on top of two turntables.
As the lights dim, the meeting opens with the first hymn, “The Forest,” sung in brain-tickling, eight-part a cappella harmony that addicts are sight reading from distributed pamphlets. Following the last note, veteran member Paula (Tracy Lynn Olivera) reveals that group organizer, Saul, whom no one seems to have ever met, cannot attend tonight. The group recites “The Eight Principles” before each member takes a turn sharing their agony with the cult-adjacent circle via choral monologues and group exercises that address everything from cancel culture to the inverse relationship between science and spirituality.
The writing of the nearly sung-through production makes the story eerily relatable. Malloy’s surface-level genius is visible to the naked eye in every word uttered by the eight captivating actors on Studio’s stage. His real groundbreaking brilliance is in the covert nods to spirituality and science that are indiscoverable without post-show analysis. A personal favorite is the final song’s partial adaptation from “A Great Wagon” by 13th-century poet, Rumi. The witty, profound, and impeccably paced book of “Octet” allows for many more discoveries of the sort even days after audiences have left Studio’s doors.
As if that isn’t enough, the entirely a cappella (except a few innovative uses of pitch pipes) music of “Octet” is not only euphonious but intentional in its analog. Though Studio’s cast achieves stunning vocal unity in the severely technical challenge of Malloy’s score, small bits of the extremely wordy, yet not verbose, score get lost in lack of enunciation of certain individual songs. Otherwise, this production executes majestically haunting harmonies and soul-reaching stories with ease.
As the director, Muse seems to have cracked the code of “Octet” in bringing out a group performance stronger than any individual. Not to say each cast member isn’t sublime in their own right, but the simple excellence of their collective performance is far more vast. Even so, Chelsea Williams’ (Jessica) embodiment of the terror of ostracization and Ana Marcu’s (Karly) characterization of the desperate want for love make them early standouts. A late addition, Aidan Joyce (Toby) lends his exquisite tone and rendering of a frenzied spiral to the haunting rock ballad, “Actually.”
It’s physically impossible to put the genius of “Octet“ into words and an even more impossible task to undertake as a production. Somehow, Studio Theatre nails it. Though “Octet” may confuse the conventional theatre-goer, it is the most artistically stimulating experience in any medium of recent memory. In a world that is more dependent on technology by the second, “Octet” is a necessary prophecy delivered under the guise of innovative musical theatre.
Running Time: Approximately one hour and 40 minutes with no intermission.
“Octet” runs through February 22, 2026 in the Victor Shargai Theatre at Studio Theatre, 1501 14th St. NW, Washington, D.C. 20005. For more information and to purchase tickets, please call the Box Office at (202) 332-3300 or go online.
