Premiering off-Broadway at the New York Theater Workshop, an incubator for many Broadway hits including Once, Hadestown, and Rent, this new production is fresh with its young talent and memorable pop-rock score. Though the show has all the potential to be the next Broadway cult favorite, it currently struggles to impact with its storytelling and themes.
On the whole, performances are strong though a tad collegiate (maybe intentionally so). The young cast is undoubtedly talented for their age and are applaudable for doubling as the show’s orchestra. Game of Thrones alum, Brenock O’Connor gives an award-worthy performance in the leading role. He is likeable, enthusiastic, and effectively captures the emotional range of Conor’s arc. Another standout is Gus Halper as Conor’s cynical brother, Brendon. Halper is in tune with his character and delivers some striking acting. His passionate rendition of “Go Now,” the show’s finale, is the single most unforgettable and poignant moment of the night.
Though Sing Street’s plot is simple, its book by Enda Walsh is overstuffed and underdeveloped. The musical ambitiously attempts to balance two concurrent storylines- the naissance of Conor’s band and the love story with Raphina. Both revolve around the protagonist, but neither really affects the other. Additionally, conflicts at stake are never fully realized. Furthermore, act one move too slowly with much time wasted on exposition dumps or setting up secondary characters (ie. like Conor’s troubled sister or the playground bully who unsurprisingly is more than he seems), who see little meaningful development as the show progresses.
With an overpacked story, there is little time left to flesh out the central themes that appear in fleeting glimpses throughout the musical. The establishment of time and place are integral, but amount to nothing more than Irish accents and a projection of the English Channel as a backdrop for the show (which I did not even initially notice). From what I understand, the 1980s marked a time of recession in Ireland and consequently, saw an exodus of Irish youth, like Conor and Raphina, to London in search of a brighter future. Other unexplored themes include the restrictions of Irish Catholic culture, the power of music to combat tough times, individuality, and escapism. Delving into any of these themes would help to elevate the show into a more influential work.
Sing Street’s saving grace is its music, much of which is pulled from the original film. The songs are all beautiful and have their own unique flair. The lyrics are poetic, yet gritty and real, reflecting the innocence of their supposed young composers. Importantly, they are memorable and have now become staples on my Spotify playlist. Unfortunately, the production’s treatment of the music is not always effective. At times, Sing Street feels more like a straight play with music rather than a musical. The first act is particularly symptomatic of this as all songs are diegetic and only draw out an already slow-moving plot. The second act has much more success, managing to creatively interweave its musical numbers into the action on stage.
With some revisions to the book and adjustments to the production for a larger venue, Sing Street has potential to do well if it transfers as planned to Broadway next spring and could even be a worthy contender for Best Musical at the Tony’s. Although revolving around teens, the show can easily appeal to different demographics as it tells a relatable and realistic story about growing up during difficult times. As I saw the musical during previews, I am keen to see how this musical progresses, although I am unlikely to be able to afford tickets once it arrives on Broadway.
Sing Street opens December 16 and plays at the New York Theater Workshop until January 26, 2020. If you are frugal like me, TodayTix offers $25 lottery tickets