Pop-Culturalist.com

There are many reasons that New York Theatre Workshop’s production of Sing Street is one of those heart-tugging, heart-warming, magical shows that moves you—and the cast of instrument-playing actors is one of those reasons. As Barry, the bully struggling to accept and express his true self, actor and musician Johnny Newcomb, in turn, storms the stage and adds a light grace to it. When he’s not center stage as Barry, he’s side-stage with his fellow actors playing the various musical instruments to accompany the show.

We chatted with Johnny about his performance history (he’s been in shows like Rent, Once, and American Idiot) and what it’s been like bringing Barry and Sing Street to life from the workshop stage to its off-Broadway run (also, if you haven’t seen it then you’re in luck because it’s Broadway-bound this spring!).

What drew you to music and theater and when did you realize that could be your career?
My dad is a beautiful guitar player and also a really lovely singer. I can’t remember a time growing up when he wasn’t singing or playing. He has amazing taste in music as well. I grew up with The Eagles, BB King, Eric Clapton, Fleetwood Mac, and The Beatles. As for theater, I will always credit my big sister for getting me into it. She started doing musicals in middle school so as a young kid I was introduced to a MASSIVE amount of them and they really affected me. I started taking it really seriously in high school. I was obsessed. I think I knew as early as 14 years old that I was going to do this for a living.

You’ve had past experiences in theater playing characters that are also musicians/play their own instruments. Is that something that adds extra pressure when performing the role?
Not when it comes to performing the role, no. I love playing instruments in shows; it’s such a thrilling experience. Most of my professional career has been because I can play multiple instruments. It has opened so many doors for me, and my musicianship has grown exponentially over the years. But, I definitely feel the pressure when it comes to auditioning for those kinds of roles. I can get really insecure about my level of ability because there are guys in this city that can absolutely melt faces on their respective instruments. Silencing the voice in my head that says “I’m not good enough” is really difficult sometimes, but that all comes with the territory of auditioning so it’s just one more thing I’ve had to learn to manage.

What was your biggest challenge in prepping to play Barry?
I think my biggest challenge was discovering and living in the space between his rage and his pain. He’s an unbelievably complicated character, and I was definitely nervous when we started out. It’s every actor’s dream to get to chew on scenes like these, and our writer, Enda Walsh, and our director, Rebecca Taichman, have been my biggest champions in finding this role.

Did you have to do dialect work? What is that process like?
I did! It was great. I’ve done dialects in a bunch of shows, but I had yet to do Irish so diving into it was a total treat. Our dialect coach, Deborah Hecht, was amazing. Her ear is unmatched and our sessions with her were super helpful. We would do private sessions and group sessions too. Also being around our Irish company members every day helped a ton. It comes as second nature now.

Do you see any of Barry in yourself? What of yourself did you bring to the role?
There are definitely qualities that Barry and I share: the want and need to be seen in your most authentic state of being, insecurities surrounding masculinity, and growing up in a social environment that isn’t the kindest. I had a lot of trouble in high school—not only coming to terms with who I am as a person but also just school in general. I hated classes so much, and kids can be vicious. I actually almost failed out at one point; I just did not want to be there. It’s wild playing the bully in this production as I was bullied a lot throughout middle school and high school, but it’s incredibly therapeutic going through Barry’s journey every night. It has a healing quality for me.

What is the biggest lesson you’ve learned from this experience?
I think the biggest lesson I’ve learned so far is to trust myself and what I have to offer. During the workshop version of this show I was just so, so nervous—nervous that I wasn’t a good enough actor; [nervous] that I wasn’t a good enough musician. It was all anxiety-based, and it reflected in my work. This is my first principal role in New York City, and I think I let the pressure get to me a little bit, for sure. I had to have a serious come-to-Jesus moment with myself before we started rehearsals for the Off-Broadway run. I had to let go of the insecurities and the fear that I wasn’t good enough to be in the room. I’m really proud of myself that I was able to put all that aside because the second I started to believe in myself I felt like I really began to soar in this experience. It’s been so liberating and fulfilling. It’s definitely the most special experience of my career thus far.

What do you hope that audiences get out of this production?
Suppression is a huge theme in our show. To stand in the face of it and press on anyway is the hardest thing in the world to do, but do it nonetheless. I hope audiences walk away feeling empowered to do what they love no matter what people say. Hopefully, they feel joy in watching these people—these young people at that—fight for what they believe in.

As Sing Street preps to move to Broadway, how will the production evolve?
I’m actually not sure how much of that I’m allowed to tell you! [laughs] Luckily we get the opportunity to fully explore every single aspect of this version of the show at New York Theatre Workshop before moving on and probably in a way that not a lot of other Off-Broadway shows get to do. Not a lot of shows get more time. It’s the greatest gift to get to keep growing. To keep exploring these relationships and this journey is priceless. What I can tell you is audiences that came out to support us this time around will be absolutely blown away by the way it will have evolved come opening night on Broadway.

POPCULTURALIST SPEED ROUND

Last show you binge-watched
Marianne on Netflix. It’s a fantastic French horror series. I’m a huge horror fan and it scared the absolute hell out of me which is hard to do.

Favorite Play and/or Musical
I was afraid you were gonna ask this one! Such a tough one. I think it has to be a tie between American Idiot and Rent. Spring Awakening comes in at a real close second.

Favorite Book
World War Z. Incredible book. Terrible movie.

Favorite Film
Another tie: Jurassic Park and The Avengers

Artist/Musician you could listen to on repeat
I love James Arthur. His voice is out of this world.

A place you want to go to
I’d love to visit Hawaii someday. It’s always seemed so magical, almost like it’s not an actual physical real place.

The person you’d most like to meet
Barack Obama. He changed a lot of lives for the better, including my own, and he did it with such grace and humility.

 

Learn more about Sing Street here and keep up-to-date with Johnny Newcomb by following him on Instagram!