production

Television director and producer Tom Cherones, best known for his work on the first five seasons of the Emmy-winning series “Seinfeld,” has died. He was 86.

He died Jan. 5 at his home in Florence, Ore., according to a statement from his family.

He directed some of the most iconic episodes of “Seinfeld,” including “The Chinese Restaurant,” “The Parking Garage” and “The Contest.” The first episode he directed was the show’s second-ever episode, “The Stake Out.” The director ultimately helmed over 80 episodes of the show.

“I think they liked the way I ran the set,” Cherones said of why he was chosen to direct so many “Seinfeld” episodes in an interview with the Television Academy Foundation. “I shot the show a little different … I just shot it in a way that I thought made it look better than the average show.”

Cherones left the show at the behest of its star Jerry Seinfeld.

“Jerry asked me to [leave], he was tired of the same thing I guess,” he told the Television Academy Foundation. “We changed writers almost every season and finally he just wanted somebody else, another presence to try to keep it fresh. He always said from the beginning that when this thing isn’t working anymore we’re going to stop.”

Cherones received six Emmy nominations for his work on “Seinfeld,” winning his sole Emmy for his production work in 1993.

“Seinfeld” star Jason Alexander mourned Cherones death in an Instagram post on Friday.

“Tom directed nearly half the ‘Seinfeld’ episodes. He created the visual style and tone and how to capture the magical interplay of our cast,” Alexander wrote.

“His generosity also enabled me to become a member of the Directors Guild and he was a wonderful mentor. He was a good guy and a wonderful director and teacher. Generations of our fans have and will continue to enjoy his work. Thanks for everything, Tom. Rest well. My love to your family and friends.”

After leaving “Seinfeld,” Cherones would go on to direct 23 episodes of the second season of the Ellen DeGeneres sitcom “Ellen.” He also directed several episodes of the ‘90s NBC sitcoms “Caroline in the City” and “NewsRadio” and stand-alone episodes of “Sabrina the Teenage Witch,” “Boston Common” and “Desperate Housewives.”

Cherones was born Sept. 11, 1939, in Tuscaloosa, Ala., and graduated with a degree in journalism from the University of New Mexico in 1961. After a four-year stint in the U.S. Navy, he earned a master’s degree from the University of Alabama in 1967.

He worked at a PBS affiliate station in Pittsburgh, including aiding in the production of “Mister Rogers’ Neighborhood.” Cherones moved to L.A. in 1975 and found production work on such series as “General Hospital” and “Welcome Back, Kotter,” and with several of the major Hollywood production studios.

Later in life, Cherones returned to the University of Alabama to teach production classes from 2002 to 2014.

Cherones is survived by his wife Carol E. Richards, his daughter Susan Cherones Lee, son Scott Cherones and two grandchildren, Jessa and Thomas Cherones.

Secretary of Defense Pete Hegseth, who is taking a tour of U.S. defense contractors, on Friday visited a Long Beach rocket maker, where he told workers they are key to President Trump’s vision of military supremacy.

Hegseth stopped by a manufacturing plant operated by Rocket Lab, an emerging company that builds satellites and provides small-satellite launch services for commercial and government customers.

Last month, the company was awarded an $805-million military contract, its largest to date, to build satellites for a network being developed for communications and detection of new threats, such as hypersonic missles.

“This company, you right here, are front and center, as part of ensuring that we build an arsenal of freedom that America needs,” Hegseth told several hundred cheering workers. “The future of the battlefield starts right here with dominance of space.”

Founded in 2006 in New Zealand, the company makes a small rocket called Electron — which lay on its side near Hegseth — and is developing a larger one called Neutron. It moved to the U.S. a decade ago and opened its Long Beach headquaters in 2020.

Rocket Lab is among a new wave of companies that have revitalized Southern California’s aerospace and defense industry, which shed hundreds of thousands of jobs in the 1990s after the end of the Cold War. Large defense contractors such as Northrop Grumman and Lockheed Martin moved their headquarters to the East Coast.

Many of the new companies were founded by former employees of SpaceX, which was started by Elon Musk in 2002 and was based in the South Bay before moving to Texas in 2024. However, it retains major operations in Hawthorne.

Hegseth kicked off his tour Monday with a visit to a Newport News, Va., shipyard. The tour is described as “a call to action to revitalize America’s manufacturing might and re-energize the nation’s workforce.”

Long Beach Mayor Rex Richardson, a Democrat who said he was not told of the event, said Hegseth’s visit shows how the city has flourished despite such setbacks as the closure of Boeing’s C-17 Globemaster III transport plant.

“Rocket Lab has really been a superstar in terms of our fast, growing and emerging space economy in Long Beach,” Richardson said. “This emergence of space is really the next stage of almost a century of innovation that’s really taking place here.”

Prior stops in the region included visits to Divergent, an advanced manufacturing company in aerospace and other industries, and Castelion, a hypersonic missile startup founded by former SpaceX employees. Both are based in Torrance.

The tour follows an overhaul of the Department of Defense’s procurement policy Hegseth announced in November. The policy seeks to speed up weapons development and acquisition by first finding capabilities in the commercial market before the government attempts to develop new systems.

Trump also issued an executive order Wednesday that aims to limit shareholder profits of defense contractors that do not meet production and budget goals by restricting stock buybacks and dividends.

Hegseth told the workers that the administration is trying to prod old-line defense contractors to be more innovative and spend more on development — touting Rocket Lab as the kind of company that will succeed, adding it had one of the “coolest factory floors” he had ever seen.

“I just want the best, and I want to ensure that the competition that exists is fair,” he said.

Hegseth’s visit comes as Trump has flexed the nation’s military muscles with the Jan. 3 abduction of Venezuelan President Nicolás Maduro, who is now facing drug trafficking charges to which he has pleaded not guilty.

Hegseth in his speech cited Maduro’s capture as an example of the country’s newfound “deterrence in action.” Though Trump’s allies supported the action, legal experts and other critics have argued that the operation violated international and U.S. law.

Trump this week said he wants to radically boost U.S. military spending to $1.5 trillion in 2027 from $900 billion this year so he can build the “Dream Military.”

Hegseth told the workers it would be a “historic investment” that would ensure the U.S. is never challenged militarily.

Trump also posted on social media this week that executive salaries of defense companies should be capped at $5 million unless they speed up development and production of advanced weapons — in a dig at existing prime contractors.

However, the text of his Wednesday order caps salaries at current levels and ties future executive incentive compensation to delivery and production metrics.

Anduril Industries in Costa Mesa is one of the leading new defense companies in Southern California. The privately held maker of autonomous weapons systems closed a $2.5-billion funding round last year.

Founder Palmer Luckey told Bloomberg News he supported Trump’s moves to limit executive compensation in the defense sector, saying, “I pay myself $100,000 a year.” However, Luckey has a stake in Anduril, last valued by investors at $30.5 billion.

Peter Beck, the founder and chief executive of Rocket Lab, took a base salary of $575,000 in 2024 but with bonus and stock awards his total compensation reached $20.1 million, according to a securities filing. He also has a stake in the company, which has a market capitalization of about $45 billion.

Beck introduced Hegseth saying he was seeking to “reinvigorate the national industrial base and create a leaner, more effective Department of War, one that goes faster and leans on commercial companies just like ours.”

Rocket Lab boasts that its Electron rocket, which first launched in 2017, is the world’s leading small rocket and the second most frequently launched U.S. rocket behind SpaceX.

It has carried payloads for NASA, the U.S. Space Force and the National Reconnaissance Office, aside from commercial customers.

The company employs 2,500 people across facilities in New Zealand, Canada and the U.S., including in Virginia, Colorado and Mississippi.

Rocket Lab shares closed at $84.84 on Friday, up 2%.

WASHINGTON — President Trump is meeting with oil executives at the White House Friday in hopes of securing $100 billion in investments to revive Venezuela’s ability to fully tap into its expansive reserves of petroleum — a plan that rides on their comfort in making commitments in a country plagued by instability, inflation and uncertainty.

Since the U.S. military raid to capture former Venezuelan leader Nicolás Maduro on Saturday, Trump has quickly pivoted to portraying the move as a newfound economic opportunity for the U.S., seizing tankers carrying Venezuelan oil, saying the U.S. is taking over the sales of 30 million to 50 million barrels of previously sanctioned Venezuelan oil and will be controlling sales worldwide indefinitely.

On Friday, U.S. forces seized their fifth tanker over the past month that has been linked to Venezuelan oil. The action reflected the determination of the U.S. to fully control the exporting, refining and production of Venezuelan petroleum, a sign of the Trump administration’s plans for ongoing involvement in the sector as it seeks commitments from private companies.

It’s all part of a broader push by Trump to keep gasoline prices low. At a time when many Americans are concerned about affordability, the incursion in Venezuela melds Trump’s assertive use of presidential powers with an optical spectacle meant to convince Americans that he can bring down energy prices.

The meeting, set for 2:30 p.m. EST, is currently set to occur behind closed doors, according to the president’s daily schedule. “At least 100 Billion Dollars will be invested by BIG OIL, all of whom I will be meeting with today at The White House,” Trump said Friday in a pre-dawn social media post.

Trump is set to meet with executives from 17 oil companies, according to the White House. Among the companies attending are Chevron, which still operates in Venezuela, and ExxonMobil and ConocoPhillips, which both had oil projects in the country that were lost as part of a 2007 nationalization of private businesses under Maduro’s predecessor, Hugo Chávez.

The president is meeting with a wide swath of domestic and international companies with interests ranging from construction to the commodity markets. Other companies slated to be at the meeting include Halliburton, Valero, Marathon, Shell, Singapore-based Trafigura, Italy-based Eni and Spain-based Repsol.

Large U.S. oil companies have so far largely refrained from affirming investments in Venezuela as contracts and guarantees need to be in place. Trump has suggested on social media that America would help to backstop any investments.

Venezuela’s oil production has slumped below one million barrels a day. Part of Trump’s challenge to turn that around will be to convince oil companies that his administration has a stable relationship with Venezuela’s interim President Delcy Rodríguez, as well as protections for companies entering the market.

Secretary of State Marco Rubio, Energy Secretary Chris Wright and Interior Secretary Doug Burgum are slated to attend the oil executives meeting, according to the White House.

Boak writes for the Associated Press.

United States President Donald Trump has issued a stern warning to defence contractors that supply the US military, accusing them of profiteering.

In a Truth Social post on Wednesday, he threatened to take action if the companies failed to take specific actions, including capping executive pay, investing in the construction of factories and producing more military equipment at a faster clip.

“MILITARY EQUIPMENT IS NOT BEING MADE FAST ENOUGH,” Trump wrote at one point in his lengthy, 322-word post.

“It must be built now with the Dividends, Stock Buybacks, and Over Compensation of Executives, rather than borrowing from Financial Institutions, or getting the money from your Government.”

Trump singled out the technology company Raytheon as the worst offender, in his eyes.

“I have been informed by the Department of War that Defense Contractor, Raytheon, has been the least responsive to the needs of the Department of War, the slowest in increasing their volume, and the most aggressive spending on their Shareholders rather than the needs and demands of the United States Military,” Trump wrote in a follow-up post.

The president threatened to sever government ties with Raytheon, now known as RTX, which earns billions from its defence contract work.

Just last August, the Department of Defence awarded the firm $50bn – the maximum possible – for a 20-year contract to supply the military with equipment, services and repairs.

“Our Country comes FIRST, and they’re going to have to learn that, the hard way,” Trump warned.

Defence spending fuels a significant portion of the US economy: As of 2024, Defence Department spending represented approximately 2.7 percent of the US gross domestic product (GDP).

Normally, the total defence budget hovers around $1 trillion. But in a Wednesday evening post on Truth Social, Trump announced that he would petition congressional Republicans to boost that amount to a record $1.5 trillion for fiscal year 2027.

“This will allow us to build the ‘Dream Military’ that we have long been entitled to and, more importantly, that will keep us SAFE and SECURE, regardless of foe,” Trump wrote.

Still, Trump’s threats sent stocks for defence contractors plummeting, amid uncertainty over the future of the high-stakes industry.

Since taking office for a second term, Trump has taken an aggressive, hands-on approach to private companies that have ties to national security concerns.

In June, for instance, the Trump administration was awarded a “golden share” in the metal company US Steel, in exchange for giving a green light to its merger with Japan’s Nippon Steel. That share allows the Trump administration to essentially have a veto over any major action US Steel may take to reorganise or dissolve.

Then, in August, the technology firm Intel struck a deal to sell the US government a 10-percent stake in its company, amid pressure from Trump.

The Trump administration has continued to snap up stakes in other private firms, most notably mining companies involved in the production of rare earth minerals and other raw materials used in technology.

It is not yet clear how Trump plans to enforce his demands for the defence contractors he blasted in Wednesday’s social media messages. Nor is it certain that Trump could legally enforce his orders.

But Trump aired a list of grievances against the companies, including that their executives’ pay was simply too large.

“Executive Pay Packages in the Defense Industry are exorbitant and unjustifiable given how slowly these Companies are delivering vital Equipment to our Military, and our Allies,” he wrote at one point.

At another, he called on the private firms to invest in new construction projects, a request he has made across industries, from the pharmaceutical sector to automakers.

“From this moment forward, these Executives must build NEW and MODERN Production Plants, both for delivering and maintaining this important Equipment, and for building the latest Models of future Military Equipment,” Trump said.

“Until they do so, no Executive should be allowed to make in excess of $5 Million Dollars which, as high as it sounds, is a mere fraction of what they are making now.”

He also complained that the defence companies were “far too slow” in offering repairs for their equipment.

Defence contractors are responsible for a range of services and products, from software to training to missiles and tanks. RTX, for example, designed the Patriot Missile, the US’s flagship surface-to-air missile system, and it keeps the US military supplied with spare parts and other updates.

Based in Virginia, the company boasted sales exceeding $80bn in 2024. Just this week, the US Federal Aviation Administration (FAA) awarded RTX a $438m contract to update its radar system.

Still, Trump maintained that too much of that income was going to shareholders, executive pay and stock buybacks, wherein a company purchases its own shares in order to limit their supply and increase their value.

“Defense Contractors are currently issuing massive Dividends to their Shareholders and massive Stock Buybacks, at the expense and detriment of investing in Plants and Equipment,” Trump wrote.

“This situation will no longer be allowed or tolerated!”

Universal Music Group is investing $80 million for a stake in one of India’s biggest Bollywood production companies, Excel Entertainment Pvt.

Universal Music India, a division of Universal Music Group, will acquire a 30% equity interest in the Mumbai-based movie studio. In the deal, announced Monday, the companies will work together on forthcoming films, series, music and emerging formats.

While getting involved in India’s local film industry, Universal Music will also now receive global distribution rights for all future original soundtracks attached to projects produced or owned by Excel. There are also future plans for the companies to launch an Excel-linked music label that will allow UMG and Universal Music India artists to appear in various Excel titles.

The investment underscores the rapid growth in the Indian entertainment industry.

India is the 15th-largest recorded-music market globally.

Founded by producers Ritesh Sidhwani and Farhan Akhtar in 1999, Excel is responsible for making over 40 different films and scripted shows. Its most popular titles include “Dil Chahta Hai,” “Don” and “Talaash.” The company is currently valued at approximately $290 million.

“India’s entertainment landscape continues to grow from strength to strength, and this is the perfect moment to build meaningful global collaborations,” said Sidhwani and Akhtar in a joint statement. “Together, we aim to take culturally rooted stories to the world.”

Universal Music Group, with its corporate headquarters in the Netherlands and another office in Santa Monica, was founded in 1996. The music giant behind artists like Taylor Swift and Billie Eilish is valued at roughly $48 billion on the U.S. stock market, with shares selling around $25.80.

The year was 1923, and thousands of people a month were flooding into Los Angeles in hopes of finding a job in the nascent film business.

Many planned to start as background actors, dreaming they’d be discovered by a director and finally get their big break. These behind-the-scenes actors would wander from studio lot to studio lot, lining up in hopes of being cast.

But the chaos of aspiring actors searching for jobs eventually became too much. Even silent screen star Mary Pickford took to warning wide-eyed newcomers that they should save enough money to survive for five years before coming out to Hollywood.

Out of calls to create safeguards around this fledgling business, and more order around background acting opportunities, emerged the Central Casting Corp.

Central Casting — now so eponymous that its name has become a cultural phrase — celebrated its 100th anniversary earlier this month.

I recently spoke with Mark Goldstein, president and chief executive of the Burbank-based company, to talk about changes in the industry, including the threat of artificial intelligence, runaway production and the role of a background actor in 2025.

Goldstein acknowledged the tough environment for background performers, also commonly known as extras, who populate restaurants, parks and other film and TV scenes to make the environment seem more realistic — all without saying a word.

After the lows of the pandemic, and then the explosion of content during the peak TV era, one of the main challenges for Central Casting’s members is just finding new roles, he said.

“There’s been a little bit of a pullback in production over the last year,” said Goldstein, who serves as president and CEO of Central Casting as well as production finance and management tools firm Entertainment Partners, which owns the agency. “It’s really just constantly finding the right roles for people.”

In Southern California, of course, jobs have been more scarce as production has flowed to other states and countries offering steeper film incentives.

Then there is the advent of computer-generated imagery, which has lessened the need for massive crowd scenes that were once standard.

“Before [CGI] technology, we may fill up an arena, like we may fill a 5,000-person shoot or a 10,000-person shoot,” Goldstein said.

Remember the long lines for casting calls?

No more.

More recently AI has been a key concern for background actors, though Goldstein said he doesn’t think the new digital tools and the rise of synthetic characters will eliminate the need for background actors.

“There’s a lot of conversation [about] is it human or technology? And we kind of view it as human and technology,” he said. “The consumer wants believability, and so there’ll be situations where it’s really important to have the human role involved, but there may be other situations where AI and technology can be helpful.”

He added: “We have legendary people that started their career because they wanted to follow their dream to become an actor in Hollywood,” he said, ticking off the names of famous alumni such as Clark Gable, Carole Lombard, Eva Longoria, Will Ferrell and Brad Pitt. “And we don’t see that changing.”

Despite the challenges, aspiring actors still register with Central Casting every day, Goldstein said. The company has 200,000 background actors in its database, with more than 20,000 new names added a year. About 3,000 are placed in roles each day, the company says.

One of those is Jaylee Maruk, 38, who signed up with Central Casting in 2009 and has worked steadily ever since.

Maruk works often on “Grey’s Anatomy” and has credits on Hulu’s “Paradise” and Apple TV’s “Shrinking.” She once stood in for Greta Lee in Apple TV‘s “The Morning Show.”

“What I love about doing background is it really gives a solid foundation about what it’s like to be on set and what the expectations are,” Maruk said.

But she worries about her future, especially with the rise of AI and the migration of production.

“Productions will pack up and leave,” she said. “They’ll go somewhere cheaper, and it’s becoming harder and harder for us. That’s really the biggest concern, trying to entice and support productions staying here.”

Towns in far-off countries like Hungary and Turkey can be made to look just like places in America, she says. And they can cast local residents instead of U.S.-based performers like Maruk. After all, background actors don’t have speaking roles, so not speaking English isn’t a problem.

“We want our work to be here,” said the Lake Balboa resident. “Our families are here, our lives are here.”

Last year, I got a glimpse into the world of background acting when I covered the annual Los Angeles Union Background Actors Awards. Though tongue-in-cheek at times — the awards themselves are called Blurries — the ceremony and winners’ speeches also highlighted these actors’ key roles in Hollywood.

I met background actors who had done the job for years, including one who got his first role as a 12-year-old in “Hello, Dolly!” Many talked about the difficulty of the last few years and the desire for respect for their professional work. Some were full-time background actors; others did the work part time. All were passionate about what they did.

“It really is just preparedness and luck, as they say,” Maruk said. “And also just having a lot of motivation and resilience.”

Stuff We Wrote

Film shoots

Number of the week

James Cameron’s “Avatar: Fire and Ash” brought in $89 million in the U.S. and Canada during its opening weekend. Globally, the film made $346 million, with big hauls in China and France.

That opening total came in at the lower end of box office analysts’ expectations and is also less than the massive opening weekend for its predecessor film, 2022’s “Avatar: The Way of Water,” which grossed $134 million in its domestic debut. But “Avatar” films tend to build momentum at the box office over subsequent weekends, so the Na’vi aren’t vanquished yet.

In addition to “Avatar,” this past weekend also saw strong performances from Angel Studios’ animated “David,” as well as Lionsgate’s thriller “The Housemaid,” pushing the year-to-date domestic box office total a slim 1% above the same time period last year. That’s helpful for theaters but doesn’t bode well for the box office’s overall performance this year.

Finally …

My colleague Josh Rottenberg looks at what movie stardom will mean in an age of AI. In that story, he has an interview with the creator of Tilly Norwood, the AI-generated character that recently sparked a furious debate in Hollywood about the role of synthetics in film and TV.

A Gold Rush movie from director Ang Lee and a biopic set in Long Beach and produced by Snoop Dogg are among the 28 films that have been awarded a tax credit for shooting in California, the state’s film commission said Wednesday.

Together, the 28 films are expected to hire more than 4,800 cast and crew members, as well as more than 22,000 background actors, the commission said. The projects are projected to generate $562 million in economic activity throughout the state.

Of the 28 projects, 18 are indie films with budgets of $10 million or less, five are indies with budgets of more than $10 million and five are non-independent feature films.

Seventeen of the projects will be shooting outside the Los Angeles region, which qualifies them for additional benefits under the revamped California film and television production incentive program that was approved earlier this year. The state has now doubled the annual amount of funds allocated to the program from $330 million to $750 million and expanded the eligibility criteria.

This is the fourth round of TV or film projects that have been awarded tax credits under the revised program. Together, those projects are on track to generate $4.2 billion in economic activity in California and more than 25,000 cast and crew jobs across 4,000 filming days in the state, the commission said.

“In a highly competitive global environment, productions have choices,” said Colleen Bell, director of the California Film Commission. “This round shows that when California puts the right tools on the table, filmmakers want to stay, create and invest here.”

In addition to the “Gold Mountain” film from Lee, which was awarded $7.7 million in tax credits, and the untitled NBCUniversal project from Snoop Dogg ($17 million), an indie film called “Guerrero” directed by Gina Rodriguez was also awarded a $4.5-million tax credit, along with an untitled Sony project produced by actor Glen Powell ($9.9 million).

“California raised me, inspired me, and now helpin’ bring this biopic to life in 2026,” Snoop Dogg said in a statement. “Much respect — that’s real teamwork, ya dig.”

“Stereophonic,” David Adjmi’s heralded drama that won five Tony Awards including best play, is ready for its Los Angeles close-up.

The first national tour production, which opened Wednesday at the Hollywood Pantages Theatre, seems right at home in the music capital of the world. The play about a 1970s rock band on the brink of superstardom takes place in recording studios in Sausalito and L.A., where the Laurel Canyon vibe is never out of sight.

The visual crispness of this L.A. premiere goes a long way toward dispelling doubts that the Pantages is the wrong venue for this ensemble drama. If there’s a problem, it isn’t the cavernousness of the theater. The production, gleaming with period details on a set by David Zinn that gives us clear views into both the sound and control rooms, comfortably inhabits the performance space, at least from the perspective of a decent orchestra seat.

The play, which includes original music from Will Butler, the Grammy-winning artist formerly of Arcade Fire, has a sound every bit as robust as one of the blockbuster musicals that regularly passes through the Pantages. The songs, crushed by the actors at top volume, are Butler’s indie rock re-creation of cuts for a part-British, part-American band that bears such a striking resemblance to Fleetwood Mac that a lawsuit brought by a former sound engineer and producer of the group was eventually settled.

Adjmi, like Shakespeare, takes his inspiration where he finds it. And like the Bard, he makes his sources his own, alchemizing the material for novel ends.

The touring production of “Stereophonic” makes clear just how integral the original cast was to the success of the play.

(Julieta Cervantes)

Unfolding in 1976 and 1977, “Stereophonic” offers a fly-on-the-wall perspective of a band at a crossroads. While recording a new album top-heavy with expectations, the group falls prey to romantic conflicts and self-destructive spirals, to toxic jealousies and seething insecurities. The prospect of fame magnifies pathologies that have been intensifying over time.

Diana (Claire DeJean) is the Stevie Nicks of the band. Beautiful, achingly vulnerable and awash in lyrical talent, she is entangled in a relationship with Peter (Denver Milord), the Lindsey Buckingham of the group, who strives for musical perfection no matter the cost.

Their connection is as professionally enriching as it is personally destructive. Diana’s ambition is matched by her self-doubt. She’s susceptible to a Svengali yet doesn’t want anyone to tell her how to write her songs.

Peter, angrily competitive, can’t help resenting the natural ease of Diana’s talent, even as it’s her song from their first album that has put the band back in the spotlight. His genius is ferociously exacting while hers seems to spring naturally from her soul.

Artistically they depend on each other, but the tension between them is unsustainable. And as the play makes clear, there’s no way to keep their personal lives out of the studio.

DeJean and Milord are the most captivating performers in the ensemble. The other actors are solid but this touring production makes clear just how integral the original cast was to the success of the play.

Daniel Aukin’s production, which had its New York premiere at Playwrights Horizons in 2023 before moving to Broadway the following year, hasn’t lost its confident flow. The storytelling is lucidly laid out. But the tantalizing peculiarities of the characters have been whittled down.

The British band members suffer the worst of it. Emilie Kouatchou’s Holly moves the character away from the obvious Christine McVie reference, but her role has become vaguer and less central. Cornelius McMoyler’s Simon, the drummer and weary manager, fills the bill in every respect but gravitas, which must be in place if the character’s ultimate confrontation with Peter is to have the necessary payoff.

No one could compete with Will Brill, who won a Tony for his strung-out portrayal of Reg, a deranged innocent whose addictions and dysfunctions create farcical havoc for the band. Christopher Mowod can’t quite endow this “sad man in a blanket,” as Simon dubs his bundled-up bandmate, with the same level of fey madness that Brill was able to entertainingly supply.

These casting differences wouldn’t be worth noting if it weren’t for their impact on a play that distinguishes itself by its observational detail. Everything is just a little more obvious, including the two American sound guys bearing the brunt of the artistic temperaments running riot in the studio.

Jack Barrett’s Grover, the sound engineer who lied about his background to get the job, sands off some of the character’s rough edges in a more straightforwardly appealing version of the character than Eli Gelb’s bracing portrayal in New York. Steven Lee Johnson’s Charlie, the dorky assistant sound engineer, is an amiable weirdo, though I missed the way Andrew R. Butler played him almost like a space alien in New York.

The play has been edited, but it’s still a bit of an endurance test. Art isn’t easy for the characters or for us. But the effort isn’t in vain.

Adjmi’s overlapping dialogue and gaping silences, orchestrated in a neo-Chekhovian style, renders the invisible artistic process visible. By the end of the play, the tumultuous human drama behind creative brilliance emerges in poignant, transcendent glory.