Director Rebecca Taichman and bookwriter Enda Walsh talk upcoming new musical ‘Sing Street’: “We all need to find our own voice in a pretty scary world”

The Tony Award-winning creatives join forces to bring the cult film to the London stage. Guillermo Nazara chats with the duo — to learn more about the piece’s development and how its 80s-themed narrative can rock today’s world.

After so many years in the making, how does it feel to be bringing this show finally to the stage?

RT: It’s so thrilling to get to do it here in London. The story, in many ways, is about the longing to be in this city. Also, the chance to do it with a full Irish cast is really exciting — especially for me, as an American. I’m learning a lot from everybody. There are very rare moments in someone’s life when you get to do a show like this.

EW: It feels like a win. We were going to open it across the pond, and then, the pandemic happened. But also, it’s a very special piece. When you return to the UK, it does give you incredible energy. Of course, it has to do with these incredibly talented kids. But the original story is also so powerful and empowering — and it’s so nice to be a part of it.

What enticed you to adapt the film into a musical?

EW: I had worked with the producer before. She approached me about the project and I just happened to love the idea and the film. I met Rebecca afterwards and saw her work and instantly understood it was a perfect match. As a writer, you only have a number of shows in you, so you have to choose your work well. It’s all about the experience that you’re going to get out of it. I just wanted to be part of that world. Also, I’m a child of the 80s and I love electronica.

RT: The first time I saw the film, it just pierced my heart. From the moment the film ended, I was literally soaking in tears. I phoned my agent to ask who had the rights of the movie. It really felt like it belonged onstage. I’m also a kid of the 80s, from a different part of the world, but it’s still a world that’s so familiar to me. Thinking of that era brings back a million memories. Also, the plot has such a beautiful, tender love story told in such an authentic, deeply human, and funny way.

Musical theatre is a completely different language to film. How have you managed to let the show breathe on its own?

EW: It’s very different to the film. Of course, the movie will still be there, but one of the great things about theatre is that you have more time to tell the same story. Theatre is also physical. It’s all about using the rough magic of the play. We’re not trying to replicate the film. This is for theatre people, and they respond differently. In some ways, theatre can work much better than film, which is very literal. Theatre, however, is like a dream. When you begin a new project as a theatremaker, the first thing you think about is how it will look onstage. Then, the story and the rest of the elements come together.

Are there any themes the stage version has allowed you to explore in comparison to the film?

EW: The themes are quite similar, but we’ve been able to deepen into them a bit more. On the whole, however, all the things it tackles are the same as in the film.

Have you found any particular creative challenges?

RT: For me, it was how much I loved the film. It took me a while to move away from the film. As you pointed out, theatre is a radically different medium, and it’s about running emotion truth, not literal truth. It soars in metaphor. In some way, it does the opposite to what film does. We’re never going to be in a literal bedroom with two brothers. And regardless of how incredibly powerful that scene is in the film, we have to find the theatrical equivalent to it. It’s a divine challenge, but I think we’re cracking it.

As you mentioned before, the show has a great appeal to kids of the 80s. Yet, how will it resonate with today’s younger audiences?

RT: It’s a story of living in a very brutal, rough world, which is something we can all identify with nowadays. It’s also about finding that safe space through music and creativity. We all need to find our own voice in a pretty scary world. I think the piece can touch everyone. It’s a very epic story about saving lives, which can attract people of any age.

EW: A huge part of the story is watching this awkward individuals come together and making it work. Seeing young people coming together, making music together, the effort to do something — it’s such a great story to tell.

Would you say the show conveys a message of community in the arts?

EW: It does in some way. But it’s also about friendships — valuing your friends and being around them.

If you had to give me one single reason to come see the show, which one would it be?

EW: The piece is such a joy. But also, this theatre. It feels so young, so it has a special buzz even before the performance starts. I think that will reverberate, and I’m looking forward to seeing how it does so on young people.

RT: Just come see Sing Street because it’s fabulous!

Rehearsal pictures credit to Manuel Harlan.

Sing Street will play at London’s Lyric Hammersmith Theatre from 8 July to 23 August. Tickets are available on the following link.

By Guillermo Nazara