The New York Theater Workshop presents a new youth rock music Sing Street:! Check out the reviews for the world premiere of the show.
Sing Street is a new musical, based on which the film is written and directed Ann Carney: (Once again, start again.) Sing Street: Contains a book by Tony Award winner and NYTW regular suspect Enda Walsh (Once Lazar), music and lyrics by Carney and Gary Clark (Danny Wilson's facade), Director Tony Award-winner and NYTW regular suspect Rebecca Taichman: (Indecent) and dance instructor – Obi Award winner Sonya Teich (Hundred days).
Dublin, 1985. Everyone is out of work. Thousands of people are looking for a clearer sky over the Irish Sea. Sixty-year-old Connor and his schoolmates turn to music to avoid trouble at home and leave a mysterious girl impression. Estimated by the new wave sounds of the era, Sing Street: celebrates the excitement of first love and the power of music.
Let's see what the critics say.
Ben Brantley, The New York Times:. There are some fun pops of soft pop and a milder, thought-provoking mix, like when Moran priest begins to pray in response to a love song that excites the band, "Dream for You." (Martin Lowe performed the orchestras and arrangements.) Or when Connor's older sister, Ann (Skyler Volpe, the lovely), rages in fury when her parents shout, striking a tattoo on the kitchen table, which becomes the percussion beat of the band's orchestra. Sexual intercourse: Girls. And the show's finale, "Go Now," is a sentimental knockout. At such times you hear the sound of a fuller music that could become "Sing Street". The group at its center is already in a fine state. It is the surrounding show that still needs to be well regulated.
David Cott, Observer:Based on the quiet and frustrating Street Street seminar at the New York Theater Workshop, however, the creative team had to take longer, no more, and learn from their mistakes. Most of the fresh and engaging videos in the film (which is happily formulaic) have been lost in mainstream theatrical, which muddles the mess, image and music, creating any tension or charm.
Melissa Rose Bernardo, New York Stage OverviewA small Irish film directed and directed by Irishman Carney turns into an intimate musical of a New York theater seminar that is cleverly adapted by playwright Enda Walsh and starred by Bob Crowley in the air, starring an actor.
Steven Suskin, New York Stage OverviewTaking into account the huge success of Tony and Olivier Tournament Once, New: Sing Street: It doesn't sound very unlikely to achieve high expectations. Basically high and unrealized, it turns out. Sing Street: turns out to be slightly better than average. The magic of something like that Once, alas, rarely comes twice.
Alexis Soloshi, Guardian:Taichman is driven by tremendous compassion, but his physical production also feels static. He mostly works without a set or cassette, except for a desk and some chairs. Background, by Bob Crowley, a background designer and costume designer, is an image of the Irish Sea, initially interesting as a metaphor, then more and more empty. At a time when there is little plot-related plot to record, it seems strange to never project a band effort. This doesn't mean that Sing Street has to pack its electric guitars. It has a talented actor, kind heart and very cool keyboard action. If it could synthesize it with a more vital story, who would be enough?
David Rooney, The Hollywood Reporter:The heated romance between Connor and Rafina is well played by Connor and Devlin, who respectively hail from England and Ireland and are stronger actors than singers, just in the last section. Their love story comes to a halt and begins, scattered by Rafina's threat to leave for England with her unexpected senior friend. This thread may also be stronger, but its soft use also has its charm. Even when it comes to corn-sentimentalism, the show's thematic focus on youth stability and reliability is a convincing draw. It forces you to root for this sweet, but not yet essential musical, to maximize its many assets and become a true contender.
Helen Shaw VulturesThe good-looking Halper is warm and indifferent to his brother, while we were served on the peak of Richard Marx, whose hair was covered in a mousse. Devlin has command and vulnerability and freshness. There are three things you often encounter together. If we focus on his dramatic function as a fun muse (Connor writes him a song called "Model Riddle"), then his performance is more about him as a play center than a prize. And O & # 39; Connor paradoxically makes a wonderful leading man, as if yielding that ground to himself every time they are together. She delivers her adolescence perfectly, writhing nervously in the trench coat of her rapturous fuchsia ("The New Romantics" is a copious act), and then gives a sudden and surprising basis every time she sings. He does the same as Carney and Clark do, every time he starts to take the theater and joke around. Yes. Youth is absurd, the 1980s were shy, and we all look stupid when we dance. Great reason to do it, the show says, and we all step out of the theater and across the street.
Photo Credit: Matthew Murphy
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