Sing Street
Based on the 2016 film of the same name and set in 1980s Dublin, Sing Street follows 16-year-old Conor, who, after moving to a new school, forms a band to impress a mysterious girl with dangerous eyes. The show premiered in New York in 2019, and honestly, I can’t imagine what has taken so long for it to arrive here. If, like me, you can’t get enough, the Broadway cast recording is already available to stream.
While we’re used to performers playing younger than their age, the cast here brings a genuine youthful energy, helped by the fact that many of them are actually young. Seb Robinson (Kevin), for instance, only completed his A Levels last year. Most of the band members appear to be current students or recent graduates, a brave casting choice that absolutely pays off. The entire cast plays their instruments live on stage, and while I suspect some may be musicians first and actors second (based on the programme), there’s no faulting their performances.
It’s rare to see this much synergy in a production. I don’t think I’ve felt it to this degree since Moulin Rouge, which shares the same choreographer. The design team must be a dream to work with: each element works beautifully on its own, but even better as part of the whole. Speaking of design, with most of the props, set pieces, and even the band mounted on trucks, I’ve never seen scenery glide across a stage so effortlessly. Those bearings must be working overtime.
Bob Crowley’s set design appears simple at first glance, with two hidden exits upstage, but is elevated by Luke Halls’ projections, which cover the walls with vivid images and animations that echo the pop-rock aesthetic of the 1980s. Natasha Katz’s lighting design works seamlessly with the projections, set, and staging. Oddly, we had all the glitter and sparkle but no disco ball in sight! With everyone working in sync, we saw moments that required serious technical precision, like performers dancing inside a spinning phone box while remaining perfectly lit. I also have to mention Gareth Owen’s sound design; at one point the school bell rang right above my head, creating a brilliantly immersive use of 3D sound.
Sonya Tayeh’s choreography is nothing short of iconic, every move is fresh, fun, and laced with nostalgic charm. Lisa Zinni’s costume design adds yet another layer of character and delight. After all, we’re watching a group of 16-year-olds form a band in the 80s expect wings, blouses, and bold footwear. One particular moment had me laughing so much: after a scene in which Conor (Sheridan Townsley) wears a long, purple, crushed-velvet jacket while filming a music video, the jacket simply ends up draped over the back of the sofa in the next scene… only for his mother, Penny (Lucianne McEvoy), to pop it on as she leaves the house. These little details are just perfect. Director Rebecca Taichman has done a marvellous job with the overall vision.
To quote the show: “The world needs happy music. It doesn’t need more sad songs.” Gary Clark and John Carney (Music and Lyrics) certainly deliver, Sing Street is a complete joy to watch.
Of course, as with any good drama, there are deeper issues explored. I won’t list them here, but I will say they’re all handled with care and never overwhelm the show’s uplifting message. At its heart, this is a coming-of-age story filled with powerful lines like: “Rock and roll is a risk. You risk being ridiculed,” and “You’re not a loser. You just haven’t found your people yet.”
There’s a particularly satisfying moment in Act Two when Sandra (Jenny Fitzpatrick), one of the mums, gives another character the sort of no-nonsense dressing-down only a mother can deliver. The audience was torn between cheering and crying.
The band is fantastic and works together with such harmony. Each member has a moment to shine; be it keyboards on wheels spinning mid-performance or synchronised guitar choreography. Sheridan Townsley as Conor delivers a seamless transition through the many micro-genres of 80s music, embodying the era with authenticity and heart. Jesse Nyakudya gives a touching and believable performance as Eamon, arguably the character with the biggest journey. Jack James Ryan is everything you’d expect from an 80s school bully as Barry, menacing yet magnetic, particularly when dancing in the second act. Although Grace Collender as Raphina doesn’t have many songs, when she does sing, you’re absolutely transported.
Five stars, or I'm calling it now, Cosmo.
This show was reviewed on the 18th July 2025 at the Lyric Hammersmith Theatre where it runs until the 23rd August 2025. Buy your tickets here: Sing Street - Lyric Hammersmith
Review written by Valentine Gale-Sides
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Photo credit : Manuel Harlan
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