Raven Theatre’s spectacular production of Dave Molloy’s musical transfers to the Goodman’s Owen Theatre
I loved Dave Molloy’s inventive and captivating a cappella musical Octet at Raven Theatre so much that here I am, reviewing it a second time in short succession now that it’s moved to the Goodman’s Owen Theatre. Director Keira Fromm leads an ensemble of eight that shines just as brightly in the Owen as they did at Raven’s more intimate space. Fromm’s staging that plays to three sides of the audience fits naturally in the Owen, which is precisely designed to flank the proscenium from three directions. Milo Bue’s set remains spare, but it doesn’t seem empty at all in the Owen. Instead, it’s a fittingly minimalist design that evokes a church basement — where it’s likely that the internet addicts who call themselves Friends of Saul have gathered.
On second viewing, I remain struck by how imaginative and creative Molloy’s writing is. An analog, a cappella musical about a group of internet addicts written in eight-part harmony? Count me in! It remains fascinating that the group call themselves Friends of Saul — but Saul himself is a mythical, cult-like figure. For all the group’s fascination with the internet, they can’t seem to find anything about him. But likewise, Saul’s notable, cultish absence from the group also evokes internet lore. After all, aren’t we often inspired to go down internet rabbit holes to close curiosity gaps?
Molloy’s lyrics are both cerebral and accessible. Octet’s characters feel lived in and specific, but their various internet predilections feel relatable and timely. Who hasn’t lost themselves in the doom scroll of social media, a comment thread, a game, or a dating app?
Neala Barron still shines as the frenzied Jessica, who bemoans a viral video that got her allegedly “cancelled” in “Refresh.” Barron’s powerhouse voice and formidable vocal range are a glorious match for Jessica’s panicked energy. Jessica’s in good company with her fellow Friends of Saul. Teresa LaGamba brings serenity to meeting leader Paula, though she soon reveals she’s as caught up in the “Stale, Pale Glow” of her phone screen as the rest of them.
Octet’s narrative combines individual shares, hymns that bemoan the “monster” (the word “internet” is notably not used until newcomer Velma’s solo “Beautiful” at the show’s end — sung with crystalline precision and glimmers of hope from Joryhebel Ginorio).
Karly (Grace Steckler) and Ed (Ryder Dean McDaniel) meditate on the addictive, slot machine-like scroll of the dating apps. Their dual reactions reflect the internet-induced loneliness epidemic: Karly seems to go inward, cognizant of her own desires and wary of offending a potential suitor, while Ed’s palpable loneliness has you wondering if he might become an incel. I appreciate that Molloy doesn’t make Ed a villain, however but merely uses Karly and Ed to examine two responses to the loneliness that the internet evokes. Steckler is almost graceful in her desperation, while McDaniel seems a bit gruff and adrift. Meanwhile, Toby (Elliot Esquivel) seems to have a coding obsession and a doomsday attitude.
All of the songs in Octet clearly play on the show’s theme of internet addiction — demonstrating different responses to its temptations. I still think the sole mismatch is Marvin’s lengthy monologue “Little God.” It’s not so much a meditation on the internet as it is Marvin’s own rambling musings about an encounter with a God-like figure. Jordan Golding’s performance is frenetic and enjoyable, but the monologue is a dramaturgical outlier in a show that otherwise tightly adheres to its theme.
At the end of “Refresh,” Jessica laments, “It’s too fast for our fledging empathy/The tech got away from us and we weren’t ready/I don’t think we’re wired to handle this.” What an absolute gut punch and terrific overall thesis. Molloy wrote Octet in 2018 before generative AI — but that’s only added to the caution he’s making here. And that’s what makes Octet feels so essential as a stage musical with no instruments and no screens. Live theater invites audiences to engage in the present. And by watching Octet’s characters examine their own internet addictions, it also asks us to reflect on how much time we all spend browsing, surfing, and swiping. Wouldn’t it be better to spend more time watching musicals like this one?
Octet is an engaging, thought-provoking triumph — and I think Molloy examines internet addiction without judging the characters (or the audience who may identify with them). Fromm’s ensemble is terrific and engaging, handling the demands of both the character work and the vocal arrangements.
Raven Theatre’s Octet runs in the Owen Theatre at Goodman Theatre, 170 North Dearborn, through August 2, 2026. Tickets are $39-$94.
Tickets: Goodmantheatre.org
Cross posted from broadwayworld.com
Photo Credit: Joe Mazza
FAQS About Octet in Chicago
Where is the show playing?
The production has officially transferred from its original home at Raven Theatre up to the Owen Theatre at Goodman Theatre, located in the Loop at 170 North Dearborn Street. Keira Fromm’s staging actually plays to three sides of the audience, making it a perfect fit for the Owen’s three-sided architectural layout.
How long does the production run?
This special limited transfer engagement is playing now through August 2, 2026.
What is the run-time of the performance?
The show runs approximately 1 hour and 40 minutes with no intermission.
How much do tickets cost?
Tickets currently range from $39 to $94, depending on the day of the week and where you sit in the theater.
Where can I buy tickets?
You can purchase tickets directly online through the Goodman Theatre website.
Is there live instrumentation in the show?
No, and that is part of the absolute genius of the piece. Octet is performed entirely a cappella. The eight cast members sing in complex, eight-part harmony without a single instrument on stage (unless you count a pitch pipe and metronome!)
Who wrote the musical?
The show features book, music, and lyrics by Dave Malloy. If the name sounds familiar, that’s because he wrote Natasha, Pierre & The Great Comet of 1812.
What is the story about, and is it appropriate for all ages?
The musical follows a support group called the “Friends of Saul”—a gathering of internet addicts trying to break free from their digital compulsions. The characters share stories about their specific online addictions, from dating app fatigue and doomscrolling to gaming obsessions. Because it features mature themes, strong language, and heavy discussions about the psychological tolls of the internet, it’s best suited for adults and mature teenagers.