SING STREET @ NYTW — Page 7

inception said: "I'm seeing this tonight at 7, & got an email from NYTW that it runs 2 hours 15 minutes with one intermission. Is the intermission included in that 2hours15 time?
I'm supposed to see Sandra Bernhard at Joe's Pub afterwards, & thought doors were 9:30, but it seems doors are 8, show is 9:30. Would hate to get heckled for arriving late."

The 2 hour and 15 minute run time includes the intermission!

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So is this waiting until next season?

Can anyone explain how such arrangements might work?

From what we’d heard, the producers had procured the Lyceum for a transfer.

IF that was true, presumably there was some type of contract between the producers and the property owners (and some exchange of $) to prevent other productions from using it. Do most productions contract only through a rehearsal and preview period, then revert to some other month-to-month agreement thereafter?

Show tonight got out at 9:29 - so I guess they don't count the intermission in the run time.

Anyways, I liked it. They got me right from the start by opening with Depeche Mode's "Just Can't Get Enough." I liked changes they made to the story from the film. I thought Zara Devlin's vocals as Raphina were fine because they are going for an 80's pop sound - not a big Broadway show tune sound. Her voice reminded me of perhaps Jane Wiedlin or Jane Siberry. I liked the new songs. The songs are very good compared with something like Mrs Doubtfire which has nothing good or memorable. But I think the show is too subtle, too slight for Broadway. I saw Moulin Rouge 2 times in a row this week. That has hit you over the head sets, amazing production numbers, a clear concise simple story with a villain who might as well be twiddling a mustache and saying I am a bad guy & still you've got New Yorkers sitting there with their arms crossed going "I don't really know what's going on?" I don't see how you sell this to those people?
There is maybe too much going on - like making the skinhead bully have a crush on Conor. It didn't add to the story, it was just a distraction. But, I liked the use of Eamon's mom in a different way from the film. One thought I just had now as I write this is, what if like in a Charley Brown cartoon, the parents aren't really seen? Cut Conor's parents & sister. Just have his brother narrate what is going on in the family home - dad out of work, mom's affair. Maybe we're in the bedroom & just hear parents fighting off stage? Then the adults get narrowed down to just Brother Baxter vs Eamon's Mom. In the film Eamon also has more of a personality than just some kind off scared/ odd kid. He & Conor really become a team. That was a big miss here. If some of the excess gets cut, then they would have time to explore more of the central stories.

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It's transferring. Expect a release in next week or two.

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I saw the show last night. There were nine of us in my group and we all agreed that the show was so enjoyable but definitely not ready for Broadway as of right now.

inception said: "That may be unfortunate. I liked it, but think it needs work. Looking at the other board, there are people who really did not like it at all. With so many new shows opening this spring, it may fall to the wayside."



I agree. This is not a Broadway caliber type of show. It's a beautiful little Off Broadway piece. When I watched Dear Evan Hansen at Second Stage, I thought, "This should be on Broadway, and if it does go there it will win all the Tonys."

While I think with a lot of work it can become right for Broadway, the current Sing Street production doesn't give off that vibe.

steven22 said: "I saw the show for the second time tonight. A bunch of changes since I last saw it during previews. Changes we caught: the house set piece in the beginning wasn't there during the the second preview, the Priest's song was cut, and the scene with the piano teacher and the Priest was added.

Sure, this show is it's flaws but I very much enjoyed it and hope it has some sort of future. "

Whoa whoa- did they cut the ENTIRE Dream for You song? Or just the priest’s role in it? I’ll be so sad if they cut the entire song!

I’ve managed to see the show a handful of times now, and all around I’d say I’m still as big a fan as I was after first preview. I think the improvements they made during previews worked, and I wonder if they are still planning to transfer how much Enda is working on the script.

My biggest flaw with the show is the lack of punch most of the musical numbers miss, and not having Drive It Like You Stole It be the big flashy standout number. I know mechanically speaking it would be hard to get all the boys into red tux’s for a dream sequence, but the show really needs it. That being said, Up and I Will Dream For You still hit me like a train every time and garner a big audience response.

I’ve always rejected on this board the idea that a certain show isn’t “broadway” or “shouldn’t be on broadway.” That is...a ridiculous statement. A rap musical about the founding fathers is one of the biggest hits of history, and a quiet slice of life musical about an Israeli band getting stranded in the desert won some of the most Tonys of the century. I think people writing shows off as “not for broadway” is a lazy excuse.

VP: I think when people say if something is "for broadway" or not, it's more about the quality of the writing/stagecraft, not about the subject matter. Hamilton may be about our founding fathers, but it's writing is fast and emotional and clever -- Sing Street's writing felt unfocused and left too many stones unturned for me. Like, do you think The Office: A Musical Parody belongs on Broadway? No, because it's pure schtick -- there's no stagecraft involved that people like to see out of something on Broadway. (And no I'm not comparing Sing Street to a parody musical, I'm just providing a lowest common denominator. Sing Street falls somewhere on that scale) I actually think based on subject matter, Sing Street fits nicely on Broadway, but the quality of the piece when I saw it just wasn't working for me.

It's a matter of what standard people hold Broadway shows up to, as well as their opinion of the show in question and how they compare.

I caught it last night, and enjoyed it, but definitely some missed opportunities in there. Eamon's story is pretty threadbare, we barely see them ever write much together, and then they are never going to split up like Lennon/McCartney, Simon/Garfunkel... and then he leaves without him at the end. Seems like that should be easy to flesh into a bit more of a narrative.

The older brother character is interesting, but I did feel that he had a complete arc, although that may have changed since people were whinging about it in previews/

And seems the like the drummer/older guitarist could be replaced by younger performers? Not sure how that was supposed to seem like they are all in the same age range.

It's a simple movie/story, so it's just a matter of finding that perfect balance, to turn it into a potential crowdpleaser. I'd go see it again if it transferred, assuming I heard they made changes.

Saw the show tonight , Sunday night. Ilan Eskenazi was on as Conor. He was fantastic. Extremely sweet and charming personality. Congrats to Ilan.

I loved the show but I am biased as it was basically an Irish version of my teenage life. As many have said, it is a heart warming and adorable musical that is extremely unpolished. It does not feel anything like what Dear Evan Hansen or Hamilton felt like off Broadway. The songs are absolutely great, my issue is the book. It is choppy. It feels like it needs more time. But I loved it as is, where it is. Maybe a move to a big house with more hard work and editing will be enough. I really hope it does well. I will definitely go back and see it, if it indeed transfers to the Lyceum.

Yes, we went last night. I haven't seen the show before so I have no point of comparison, but Ilan was terrific. Excellent presence, fine singer, really filled the role nicely.