"The music for 'Invisible Thread' is polished, melodic pop-rock in the vein of 'Rent'...But many songs tend to be soul-baring ballads or generic expressions of uplift that fail to advance the story, lending a static quality...there’s something pasted-on about the dancing, as if a musical set in Africa must have joyous, foot-stomping passages or it wouldn’t be authentic. These sequences are not remotely integral to the plot...For all his good intentions, Griffin never move beyond being cultural tourists."
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"Exuberant and soulful...the show releases gale-force waves of faith, hope and love every time its hardworking cast joins together on gospel wails or Afrobeat jams. The score is bold, fresh and catchy. But when those bracing numbers end, problems begin...Diane Paulus’s slick and muscular production helps cover up some of the less plausible or airbrushed aspects of the story, which is fictionalized to the edge of slight melodrama."
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Sweet, sincere and sophomoric...The ensuing story of a guy trying to do good because he was looking for his place in the world is interesting but not engaging. The music is all uplifting, and there is some glorious talent, but the songs begin to sound the same after a while...What was intended as an epic tale of a boy turning into a man ends up being a series of bland incidents that feels almost insignificant."
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"The production, overcompensating for the possibility, leaves no room for unauthorized ideas. As is her style, Paulus has staged 'Invisible Thread' within an inch of its life; there is never a dull moment or a part of the picture unactivated...But a show that is less than excellent, and less than true, need not be less than worthwhile. If I wanted to turn down the show’s volume sometimes (literally, too — it’s over-amped) I never wanted to turn it off."
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"'Invisible Thread' showcases a tremendous amount of talent. That talent is at present mostly imitative: 'Invisible' mimics the musical versatility and determination-in-the-face-of-defeat of 'Rent' without advancing the form. But the show is bursting with potential, not to mention infectious energy, humor and a few surprises...But by the end, 'Invisible Thread' drowns in a pool of sentiment and cliché."
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"In 2005, an actor named Griffin Matthews volunteered to work at an orphanage in Uganda and returned home to start his own charitable organization. The writer-performer drew on that episode in his life for 'Invisible Thread', a musical he wrote with his partner, Matt Gould. But despite the heavy drumming, the show isn’t really about Uganda or African orphans or African anything. It’s about Griffin Matthews...It’s a pretty conceit, but a thin concept for a musical."
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"It ends on a somewhat unresolved and downbeat note. But for the most part, 'Invisible Thread' is a highly personalized but relatable and heartfelt coming-of-age story that explores issues of culture clash and global responsibility. The attractive score combines pop-rock with African rhythms and gospel. Paulus' production features a very effective visual design (with great use of video projections) and strong performances from the mostly black ensemble cast."
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"It feels like a musical college essay, the type in which an applicant waxes philosophical about the very important lessons he learned volunteering for a summer in the developing world. Still, the music is tuneful and the book touches on some vital issues, if only slightly...the cast rarely slows to catch its breath in the frenetic staging... Sadly, not every story is best served by the conventions of the American book musical."
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