Review Roundup: SING STREET at Lyric Hammersmith Theatre

The UK premiere of Sing Street, a new musical based on the 2016 movie of the same name by John Carney, is now playing at Lyric Hammersmith Theatre until 23 August 2025.

Tony Award winners Enda Walsh (Once), Rebecca Taichman (Indecent) and Sonya Tayeh (Moulin Rogue), with music from Gary Clark (Danny Wilson), bring John Carney’s beloved coming-of-age film to the UK stage for the first time in this brand new production, following sell-out runs in Boston and New York.

The cast of performers who will be the first to play the roles on UK shores includes Tateyana Arutura as Anne, Grace Collender as Raphina, Harry Curley as Larry, Jenny Fitzpatrick as Sandra, Indiana Hawkes as Gary, Cameron Hogan as Darren, Adam Hunter as Brendan, Lloyd Hutchinson as Brother Baxter, Lucianne McEvoy as Penny, Jesse Nyakudya as Eamon, Lochlann Ó Mearáin as Robert, Matthew Philp as Declan, Seb Robinson as Kevin, Jack James Ryan as Barry and Sheridan Townsley as Conor.

With a score that embraces the new wave sounds of the 80s, Sing Street is an ode to the thrill of young love and a celebration of the power of music to lift us up.

The Sing Street creative team includes Choreography by Sonya Tayeh, Set Design by Bob Crowley, Lighting Design by Natasha Katz, Music Supervision by Peter Gordeno, Video Design by Luke Halls, Costume Design by Lisa Zinni, Wigs, Hair & Make-Up Design by Helen Keane, Musical Direction by Nick J Barstow, Casting by Stuart Burt CDG, Orchestrations & Arrangements by Gary Clark & Pete Gordeno, Choreography Re-Staged by Mia DeWeese & Camden Gonzales, Associate Director Nicholai La Barrie and Dialect & Voice Coach Hazel Holder.

It’s Dublin, 1982, and sixteen year old Conor can’t catch a break. His parents are fighting, his brother won’t leave the house and he’s not fitting in at his new Catholic school.

Enter Raphina, a mysterious girl who’s too cool for school and on the lookout for a modelling job. In an effort to impress, Conor hires her to star in a music video for his band. Only problem is he doesn’t have a band. Yet. Read the reviews here!

Cindy Marcolina, BroadwayWorld: Conor says he wants to make music that’s “happy-sad” – the creative team took that line and made it their own mission statement. It’s a bittersweet love letter to 80s Ireland and a tonic for a broken world. The score is infectious, the company is astonishing, the writing is flawless, the production is clever. It’s about family, friendship, angst, strength, all wrapped up in positive nostalgia. In a plethora of safe adaptations, Sing Street stands out uncompromisingly. It belongs on a stage, it warrants being led by actor-musos, and it deserves a long life.

Arifa Akbar, The Guardian: t 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.

Daz Gale , All That Dazzles : Sing Street is the perfect reminder of the power of music and the joy it can bring. When it’s done right, it can lift moods and even save lives. Theatre has the same effect, and it is the combination of both here that makes this musical so completely joyous. Though not completely perfect, the imperfections actually add to the charm, and while not every choice landed with maximum impact, the strength of the songs and the ridiculously sensational cast alone make this one musical I can’t recommend enough. Cute and charming at times, while holding more weight than the story would initially have you believe, dare I say I found this musical to be streets ahead of Once? One thing’s for sure, when it comes to creating hit musicals on stage, lighting certainly strikes twice.

Alice Saville, The Independent: Ultimately, Sing Street feels determinedly, exhaustingly brainless. It was originally aimed at Broadway, but its trajectory was cut short by the pandemic. Much like teenagers kept home from school, it doesn’t seem to have got much smarter in the interim. It feels like it’s pitched at secondary school kids, but you wouldn’t take teens to a show that chucks around homophobic slurs with gay abandon or is content to use child sexual abuse as no more than a little gritty retro flavour. Still, the performers give it their all, many of them making their professional debuts – and the songs are genuinely fun. Tune out the talking and you might just have a good time.

Matt Wolf, London Theatre: 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.

Sarah for Theatre & Tonic, Theatre & Tonic: This production has been a labour of love for director Rebecca Taichman and writer Enda Walsh, after Covid vetoed the original production. The commitment and care it must have taken to finally bring it to The Lyric 5 years later has permeated into the show. There’s a warmth and love for the characters, as if Taichman has been their guardian and now successfully landed them in London. The writing and storytelling are efficient and continuously engaging. The pacing is perfect, nothing is overindulged or thrown away. Walsh is generous with zippy one-liners, schoolboy quirks and captures the oft forgotten hope and fun that is usually labelled as the ‘ innocence or foolishness’ of youth. The songs “Up” and “Drive It Like You Stole It” are standout, stand-up and dance numbers from the original score by John Carney and Gary Clark.

Average Rating: 71.7%