Hit Machine Review: masculinity and music in their most honest form
- Jack Davey
- 9 hours ago
- 3 min read
14 July 2026 I 19:00 I Soho Theatre (Dean St), London
⭐⭐⭐⭐⭐ I PR - Invite
Pain is often a powerful catalyst in creating art. Whether it's Picasso's infamous blue period or the catalogue of Sarah Kane's stage plays, a heavy mind can often spark the most crucial of conversations. And this is explored through the lens of music in Hit Machine, as estranged brothers Wes and Alex turn their bruised childhoods into song. One final collaboration.
Wes is the older brother and music producer. He has it all. Excessively large house, the idealist caring wife and children. Meanwhile Alex, his younger brother, is a singer-songwriter. He is financially burdened and without a home following a break-up with his partner. The play begins with a sharp, comedic verve as the brothers affectionately argue about Cheez-Its, though a power struggle bubbles under the surface, as Wes seeks to undermine Alex's intelligence and creative talents.
The approximately 75-minute show takes place in Wes' front room, imagined with a semi-realism by designer Amelia Jane Hankin. It's very much as you would expect: plush seating, pretentious arty lanterns and framed records on the wall. But at the back is a darkened, slightly warped mirror. As the play's writer Jonathan Caren notes in the programme, these are 'brothers who mirror and distort each other'. They both hold their own version of events. Neither of which are wrong, but they learn to survive in different ways.
The stage is small in Soho Theatre's (Dean St) main space, where Wes and Alex's brotherly bond is physically pushed closer together. Like a pressure cooker situation, so that when they explode, they really take up space (with immensely believable combat scenes). You laugh out loud until you cry. Especially the men in the audience, where Caren observes the root of male behaviour: their 'machinery', if you will.
Both lead actors make their London debut in Hit Machine, despite extensive acting credentials. Noah Galvin (Alex) zings with such radiant energy. His restless, whimsical attitude clearly establishes the naïve younger sibling, though his performance morphs into one that is nuanced and sensitive. The audience love Galvin, reliably charismatic and shining in his brief, yet tender sung moments.
Starring opposite is Josh Radnor (Wes), who is more of a slow-burner. Initially, his body language feels uncomfortable in the space, as his character doesn't take a seat in his own house for a long period of time. But we see this unease rationalised later in the play, as the conversation turns to how this isn't really his house. It's money and proof of success. But it isn't a home, as Radnor's alpha brother lets his insecurities seep through, making for a compelling character.
Although marketed as a two-person play, supporting actor Khalil Madovi features as fictional rapper Defy The Leader. Madovi is also the sound designer for the production, writing three songs alongside the likes of Grammy-winner Ben Harper and CJ Harper. With a confident and trendy persona, his role explores cancel culture after a violent video of him goes viral. Audiences are treated to a sing-along concert in the finale, hyping us back up after a challenging watch. Also engaging with those of us on the front row!
Directed by Daniel Bailey, the pacing of the show is exhilarating, where Jonathan Caren's writing demonstrates a great understanding of the music industry, and about the power of songwriting as catharsis. Even including jokes about Carly Rae Jepsen's Call Me Maybe, which holds 'all the ingredients of modern romance', it's pop reference galore! But importantly, it showcases the pain that you don't see behind-the-scenes. The cycle of brutality passed on through male generations, and asks if it can be broken. Can music set you free?
I have a feeling this isn't the last we see of Hit Machine, its future is very bright!!
Booking Information and Tickets: https://www.hitmachine.london/