The UK Premiere of the musical directed by Rebecca Taichman continues to run in London until the 23rd August.
WhatsOnStage: ***** “Every aspect of the production feels fresh and exquisitely executed, from Natasha Katz’s lighting to Luke Halls’ video design and Bob Crowley’s evocative, malleable setting. The costumes by Lisa Zinni scream authentic 1980s but are never parodic.”
The Guardian: *** “It seems to aspire to be like The Commitments but feels like a paler reflection. What saves it is the score – the original by Carney and Gary Clark – and the singing. There are high-quality performances and strong voices particularly from Collender and Townsley. Emotion is eked out by the end, although the show drags its feet to get there. Ultimately, it is gig theatre, with a vacuum in-between its uplifting songs.”
Everything Theatre: **** “John Carney and Gary Clark’s score is irresistible and it’s hard to believe that these catchy songs were not once real charters in the 80’s. Luke Hall’s video design is the perfect addition to this adaptation, as we get to watch the creation of Sing Street’s music videos projected in real-time.”
All That Dazzles: **** “Enda Walsh’s writing beautifully paints the picture of 1980s Dublin, complete with culture and the music scene, in a story full of heart and humour. There is a poignancy to Conor’s situation at home, as well as his siblings, who are both going through their own issues in the troubled family home.”
The Independent: ** “The songs might be fun but there are no biting insights to be had in this flimsy revamp of John Carney’s 2016 movie.”
London Theatre.co.uk: *** “You do long for more detail about both these people and the place they inhabit. But point these kids towards the raise-the-roof rebelliousness that informs the production’s clamorous close, and you may well find yourself on the show’s likably raucous side.”
Theatre & Tonic: ***** “The show is an homage to the 80s, the spirit of possibility, of hope. Of getting out, up or through, in spite of a world trying to drag you down. If this feel-good, coming-of-age, celebration of hope doesn’t transfer to the West End, I’ll eat my Boy George bowler hat.”
The Reviews Hub: **** 1/2 “Sing Street is full of love, loss, and high energy, and as a crucial coming-of-age tale, the show has clichés in all the right places. The narrative and characters are strong and infinitely watchable, and the universal experience of growing up provides all the heartwarming sentiment that audiences will fall in love with.”
Time Out: *** “Perhaps to balance this out there are a handful of classic ’80s indie tunes simply played over the PA, which is nice in its way but they’re inconsistently spaced and it feels odd for a musical to be leaning into pre-recorded music so much, especially when tracks like ‘Please Please Let me Get What I Want’ and ‘Inbetween Days’ are inevitably vastly better than the original numbers. If Sing Street is to have a further life I think this stuff needs to be reconsidered, as does the bombastic but very long climax, which jettisons the nimbleness of the show’s earlier sections in favour of, to be honest, milking it.”
The Standard: **** “The level of musicianship is incredible, the cast swapping instruments as if they are trading bubblegum cards. The teenage thrill of performing music live on stage and the camaraderie of being in a band has an authentic tang. This delightful show has the energy and immediacy of your favourite band’s first gig.”
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