Review of ‘Sing Street’: “Musical adaptation of cult film gives us an entertaining play”

The 2016 coming-of-age movie travels to the London scene through the world premiere of its stage version, featuring direction and book by Tony Award winners Rebecca Taichman and Enda Walsh. Guillermo Nazara shares his views on the show to let us know if this tale of keyboards, guitars, and drums sticks to the spirit of the original.

Art saves lives. Music brings them together. That may be the reason why no other form, except storytelling, can have such resonance on someone’s path. It’s not the first time we’ve come across this kind of premise onstage. It might as well be one of the most recurring ones. A bunch of young lads who stand by each other by allying their creative forces, trying to flee a world of burden and disadvantage, even if that feeling of freedom will be restricted to their imagination.

Nothing innovative about it, but not necessarily avoidable. The original 2016 film dealt with more than just a group of little big dreamers. So does the stage adaptation. It may feature more synthesiser-coated gloss, but the plot’s poignant universality still pours through. Its connection with the modern viewer is undeniable, prevailing through the harrowing nature of its topics, many of which are relatable today. And so, the script’s focus veers from the recurrent misunderstood-teenage archetype to more serious subjects, ranging from parental neglect and family dysfunction to abusive relationships and systematised violence against children, for too long accepted as a disciplinary tool.

Tony Award-winning bookwriter Enda Walsh proves his aptitude in this department with satisfactory ease. Despite a few executional problems, the text exudes strength, depth, and rhythm throughout, with just a few occasional flaws in the dialogue’s build-up. The issue, however, lies in the fact that his writing is the sole protagonist. It might be a show about young boys bonding through their musical talent. And surely you’ll see advertised all across town that this is, as expected, a musical. But no matter how loud the recount begs to be one, it just isn’t.

Six songs for Act One and six songs for Act Two. That’s how extensive the repertoire for this two-and-a-half-hour jaunt gets — half of which is strictly diegetic, confined to the rehearsal and recording session scenes. A couple of additional tunes underline the character’s emotional turmoil. Yet, none allows them to go anywhere from where they started. As much as Gary Clark and John Carney’s brilliant 80s-pastiche music enthrals (the lyrics are of a different breed, though), there’s not enough room to let it do what a musical theatre score is supposed to — move the story along.

Consequently, the piece comes off as incomplete. It sets the ground for an exhilarating outcome, but doesn’t fertilise it sufficiently for its elements to bloom into a better-honed shape. The pathos is still present — the source material probably deserves most of that credit, though. Yet, the delivery can be frustrating at times. There are so many missed opportunities for powerful musical moments, often accentuated by incidental bars that tease a number that will never materialise. And though the personages’ introspection survives anyhow, words can only fulfill just as much when they offer us something else.

The staging lands as one of the most solid assets of the production. Unbothered by technical complexities, its craftsmanship conveys enough visual awe. White projection screens delineate the space, as MTV-generation-inspired videos effectively draw audiences into that era, cleverly evoked through grain-covered images and scan lines. A few scattered props, combined with intricate lighting, provide the rest, resulting in a most satisfactory design.

The cast makes the other standout of the evening, most of whom flaunt exceptional vocals and compelling acting skills. Among them, Adam Hunter earns a first mention through his portrayal of the supportive, charmingly daft brother, Brendan, giving a most endearing rendition that only his impeccable singing prowess surpasses. Yet, the highest praise goes to Sheridan Townsley in the lead role of Conor, thanks to his sincere and deeply touching interpretation, whose air of innocent truthfulness makes it so refreshing.

Hitting a few right notes in terms of narrative development but playing exceedingly closely to the film’s tune, Singing Street might entice those searching for a night of heartfelt sentimentality. But no matter how easily pleased, viewers are unlikely to regard the piece as music to their ears, simply because there’s not as much. Given the tryout nature of the Lyric Hammersmith, the show has a decent pass as an initial test, as the germ for a potentially new addition to the British catalogue of hit brands has already hatched. However, it’s still a few rewrites away from realising that promise. Just like those young lads want to escape Dublin in pursuit of a better path somewhere else, this adaptation should step away from its roots and start to live on its own.

All pictures credit to Manuel Harlan.

Sing Street plays at London’s Lyric Hammersmith Theatre until 23 August. Tickets are available on the following link.

By Guillermo Nazara