“Sing Street” at Lyric Hammersmith
Mark Shenton in West London
24 July 2025
There’s something inherently thrilling about watching young people find their voice – musically, emotionally, politically – and Sing Street taps directly into that with disarming sincerity. Making its UK stage debut at the Lyric Hammersmith, this adaptation of John Carney’s 2016 film (with a book by Enda Walsh) arrives with a warm heart, an infectious soundtrack, and just enough grit to ground its teenage dream in something real.
Grace Collender and Sheridan Townsley.
Photo credit: Manuel Harlan.
Set in 1980s Dublin, the story follows 16-year-old Conor, whose home life is unravelling as fast as his prospects at a brutal Catholic school. His escape? Forming a band to impress the mysterious Raphina, a girl who appears to exist slightly out of time and place, like someone dropped into Synge Street from a Kate Bush-inspired music video.
Sheridan Townsley brings quiet integrity to the role of Conor, even if he’s a touch older than the character is meant to be. There’s a sweetness to his performance that cuts through the clichés of the “boy-starts-band-to-get-girl” arc. What gives the show weight isn’t just the music – which is a riot of 80s synth and new wave, inspired says Carney by trying to channel Duran Duran and The Cure – but the relationships that slowly reveal themselves around the edges: the strained but tender bond between Conor and his disillusioned, agoraphobic older brother Brendan (an excellent Adam Hunter), or Raphina’s own uncertain place in a world that keeps telling her she doesn’t belong.
Grace Collender is a strong find as Raphina, balancing aloof confidence with a vulnerability that feels lived-in, as she makes her UK theatre debut in the role. Her chemistry with Townsley isn’t showy, but it builds gradually, making their connection all the more believable. Hunter, meanwhile, practically walks off with the show in a few key scenes that underline the show’s deeper theme: how creativity can be an act of survival.
Tateyana Arutura, Sheridan Townsley and Adam Hunter.
Photo credit: Manuel Harlan.
Rebecca Taichman’s production is deftly handled – not flashy, but confident in its storytelling. Bob Crowley’s design gives just enough visual texture without overwhelming things, with clever use of Luke Halls’ video work to shift between homes, school halls, and smoky clubs. Natasha Katz’s lighting subtly guides the mood without calling attention to itself.
The original songs by Carney and Gary Clark are a genuine highlight. They don’t just imitate the sounds of the period – they actually capture the emotional atmosphere of teenage ambition and longing. “Drive It Like You Stole It” is a clear crowd-pleaser, but songs like “Up” and “To Find You” show a more introspective, poetic side. (The cast play their own instruments, and the crystal-clear sound is by Gareth Owen.)
That said, the second half does meander. Too many storylines fight for space, and a few characters – particularly the school’s cartoonishly cruel priest (played by Lloyd Hutchinson) – feel undercooked. But these flaws don’t derail the show’s overall impact.
What’s lovely about this production is how well it fits the Lyric Hammersmith. This is a theatre that genuinely invests in young people – on stage, off stage, and in its wider community. The choice to stage Sing Street here feels less like a stopgap before a potential West End run and more like a meaningful alignment of values. It echoes the Lyric’s own history of nurturing youth-led stories, from Spring Awakening to Bugsy Malone.
Ultimately, Sing Street isn’t trying to reinvent the musical. But it has something rarer: a genuine affection for its characters, a belief in the possibility of art to offer escape, and an understanding that growing up is always a little bit messy. It may be set in the 80s, but its spirit feels timeless.
