Review: ‘High Fidelity’ stage adaptation as charming as it sounds

It began in 1995 as a best-selling Nick Hornsby novel; in 2000 it became a popular movie starring John Cusack; and in 2020 Zoë Kravitz played the Cusack role in a not-well-received Hulu series.

But it is the 2006 musical version that concerns us here. Arizona Repertory Theatre is staging the story about the 30-something Rob who owns a record store that is successful only amongst his vinyl-loving friends, who come to look but not buy.

Rob is kind of a mess; chauvinistic, self-centered, caddish. And he just can’t seem to grow up. It’s no wonder his lawyer girlfriend Laura has broken up with him. Rob is obsessed with making top five lists of just about anything and goes through plenty of them as he works to get his act together.

The play bombed on Broadway. And while it isn’t a brilliant musical, this University of Arizona version is completely charming.

In the spirit of Rob’s list-making, here are our five top reasons for going.

The pandemic kept many of the UA theater students from performing on stage, so the whole cast seemed contagiously gleeful to be back with an audience.

Vinney Pugliese seemed quite comfortable in the skin of Rob. He has a natural presence on stage and a pretty remarkable voice. In fact, the voices were strong all around. Hannah Peyton’s Laura is exasperated and tender, and Ben Tyrrell took on the role of Barry — the part Jack Black played in the movie.

Tyrrell seemed to have adopted pieces of Black’s persona in the film, but not so much that it felt derivative. And he has a very keen sense of comedic timing. Madelyn Whitehead played Liz, Rob’s hot-headed, straight-shooting friend with scrumptious fire.

Michael Laverde was a hoot as Ian, a hippie throwback who tries to console Laura through chanting and, what else, sex. There were lots of bit roles that contributed to the evening’s fun. We were especially taken with Patrick Ryan in the dual role of a very nerdy kid in love with obscure music, and a very hunky Bruce Springsteen, who appears to Rob in one of his dreams.

Hank Stratton directed this musical with a book by David Lindsay-Abaire and music and lyrics by Amanda Green and Tom Kitt. Stratton made sure the energy was up, the movement was intentional and the story was clear.

Particularly impressive was his attention to making sure the actors were playing to all sides of the theater-in-the-round stage.

John Henry Stamper sported a red, 9-inch mohawk and upstaged everyone by just being on stage. He is taller, made taller by that hair, and he rocked it.

The rock score is sometimes beautiful, often funny. Songs such as “I Slept With Someone (Who Slept with Lyle Lovett”) and “Ian’s Here” (So close your eyes/ Is that land you’re seein’?/ Yes it is— and on that land is Ian”) were packed with wit. And thankfully, the sound designed by Matt Marcus was crisp and clear so it was easy to understand the lyrics.

Really, we’ve been stuck inside so long without much of the uplift, insight and entertainment that live theater can give us. It is great to once again be together with an audience that laughs and cheers and is grateful for the hard work and solid talent of those on the stage and behind it.