In the beating of a bird's wing,

Diana is a towering, tambourine-wielding tour de force, who, outside of a Sausalito, California, recording studio somewhere in 1976, is skyrocketing to the top of the charts. But it’s inside the studio where Diana’s focus is fixed, both on the music she’s having trouble writing and the myriad problems her fellow bandmates Simon (Chris Stack), Reg (Will Brill), Holly (Juliana Canfield), and Peter (Tom Peckina) can’t seem to leave in the parking lot. Peter — the self-proclaimed band leader and Diana’s boyfriend — is desperate to keep control, while Reg is always face first in a bag of cocaine. Drummer Chris is too focused on the miles between him and his wife and kids to keep a steady beat, and Holly just wants a studio coffee machine that works. But at the play’s heart is Diana’s relationship with Peter: They’re desperate to make the arrangement work for an album, but Diana is unsure if she can make it work for her life...

“This woman is really at [the] crosshairs of a lot of decision-making and newness. And the one person who’s supposed to be in her corner undermines her in this unconscious way, which makes it even more difficult,” Pidgeon explains. (x.)

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For Pidgeon, Stereophonic is particularly refreshing for how it portrays the ambitious women within it as being friends, rather than competitors. “I think the idea of two women, the only two women in a band, being catty with each other and competitive is so boring. It’s just been done so many times,” says Pidgeon. “And in my life, I have rarely felt competition from other women. I’ve actually felt more competition [from] men. The ability for these two women to find each other and find grounding in each other—when they can’t even put their finger on what it is that is making them uneasy or what feels unfair…It’s this beautiful silent understanding.” (x)