Review: SING STREET, Lyric Hammersmith Theatre
Photo credit: Manuel Harlan
Sing Street lands with vibrant energy and raw emotional honesty at the Lyric Hammersmith this summer. Based on the 2016 film by John Carney, and directed for the stage by Rebecca Taichman, it tells the story of Connor, a Dublin teenager who forms a band to impress a girl and ends up discovering far more: love, music, and the courage to break free.
Sheridan Townsley gives an outstanding performance as Connor, combining magnetic presence with emotional depth. His voice is strong and expressive, perfect for a frontman. His solo ‘To Find You’ is a standout, delivered with tearful intensity and vulnerability that moved the audience deeply.
As Raphina, Grace Colender delivers a layered portrayal of strength and sensitivity. Her only solo, ‘Beautiful Disguise’, is haunting and beautifully sung. The transformation in her character, from bold and self-assured to emotionally open, is powerful and genuine. Her chemistry with Connor becomes the show’s emotional centre.
Adam Hunter brings nuance to Brendan, Connor’s older brother. His raspy tone in ‘Outside’ adds texture and contrast, and his portrayal of a man paralysed by his own anxieties is both subtle and moving. The depth behind his light-hearted exterior is skilfully revealed.
Cameron Hogan as Darren provides comic relief and warmth as the band’s young manager. He brings humour without caricature and shines especially when he joins the band for the joyous final number. Jack James Ryan as Barry, the school bully, is also a standout. His storyline adds unexpected emotional depth, with a satisfying redemption arc that hints at unspoken feelings for Connor. Though his singing voice is only briefly heard, it is fantastic, and his presence leaves a lasting impact.
The boys in the band, Seb Robinson as Kevin, Matthew Philip as Declan, Jesse Nyakudya as Eamon, Indiana Hawkes as Gary and Harry Curley as Larry, are genuinely talented musicians as well as strong actors. Their early songs, such as ‘The Riddle of the Model’, are stylised imitations of bands like Duran Duran, performed with endearing charm. As the show progresses, their music matures, culminating in a final concert of original songs that mark their artistic growth and identity.
The musical features all seven of the well-known original numbers from the film, including hits such as ‘Up’, ‘Drive It Like You Stole It’, and ‘Go Now’ as the final number. These favourites are seamlessly woven into the live performance and are complemented by additional songs that stay completely true to the tone and spirit of the original soundtrack. None feel shoehorned in or added simply to pad the runtime. What is particularly refreshing is that Sing Street avoids becoming a song-heavy jukebox experience. Instead the book, written by Enda Walsh, actually allows room for extended scenes of dialogue, giving space for the audience to sit with the characters and become immersed in their world. The result is a musical that feels grounded, heartfelt, and character-driven.
Gary Clark and John Carney’s score is catchy, emotionally resonant and narratively effective. The songs chart the band’s journey from imitation to identity. Lisa Zinni’s costumes and hair & make-up by Helen Keane cleverly evolve alongside the music, echoing iconic 1980s bands at first and gradually becoming expressions of the characters' true selves. By the end, the boys are no longer mimicking. They are performing as artists in their own right.
Bob Crowley’s set design is minimal but imaginative, using a sofa, bed, sink, kitchen table, amps and a telephone box to shift between scenes with ease. The stage opens with a single doll’s house, which flickers with TV static before revealing the family inside, immediately setting the tone. Luke Halls’ video design immerses the audience in the boys’ world of DIY music videos, allowing them to watch the performances being filmed in real time. It is clever, engaging, and a brilliant way of integrating multimedia with live theatre.
Taichman’s direction is assured, heartfelt and briskly paced. Scene changes are swift, the emotional moments are earned, and the story never loses momentum. The tone strikes the right balance between humour and pathos, particularly as the second act navigates more sensitive themes. Connor’s experience of abuse is portrayed with a jolt of painful clarity, while Raphina’s admission of her own trauma is understated but deeply affecting. The show does not linger on these moments, but they echo meaningfully throughout.
Irish accents are, for the most part, impressively consistent, with just the occasional lapse into American tones that does little to detract from an otherwise grounded and convincing ensemble.
The final act, when the band hijacks the school assembly to stage their own concert, is exuberant. The audience becomes part of that gig as song after song builds to a climactic sense of triumph. It is not just about rebellion, it’s about liberation, and it feels electric. Connor and Raphina’s departure to London signals more than a romantic escape. It is a symbol of breaking free. The fact that Brendan never left, weighed down by anxiety and obligation, makes their leaving all the more poignant. In their freedom, he too finds a form of release.
This is a fantastic example of how to adapt a beloved film for the stage. It’s a production that captures the gritty charm of teenage hopefulness, the thrill of making music with your friends, and the bittersweet ache of growing up. It is tender, smart, beautifully performed and ultimately a celebration of self-discovery - a wonderful night at the theatre.
***** Five stars
Reviewed by: Laura Harris
Sing Street plays at London’s Lyric Hammersmith Theatre until 23 August, with further info here.
