What is home but a box to keep out the rain.
Standing at the Sky’s Edge makes its West End debut at the Gillian Lynne Theatre following critically acclaimed runs at Sheffield’s Crucible and the National Theatre, writes Bella Christy..
In a collaborative effort, the lyrics and music of Richard Hawley come together with Chris Bush’s writing and Robert Hastie’s directing to create what is being called ‘a love letter to Sheffield’.
The musical follows three different timelines in which characters navigate life and love having all lived in the same Park Hill estate apartment. It explores the concept of home and belonging: how a space can be both a sanctuary of dreams and a site of despair.
Erected in 1959 and promising a better life out of the Sheffield slums, Park Hill estate gained an infamous reputation.
Deindustrialisation, strikes, and high levels of unemployment brought crime and fear until it was eventually closed and regenerated. With this backdrop in mind, each generation enters the estate with hope of a new life, escaping the troubles of their past whether that be poverty, conflict, or heartbreak. Each story interlinks and combines in beautiful ways that are uncovered throughout.
A seamless integration of all three timelines unfolds in a clever and layered first act scene.
A subtle, comedic edge was present as characters from different eras occupied the same space, sitting across from one another, opening and closing the same oven door, yet completely unaware of each other’s presence.
The scene underscores the niches between the groups: a depth of history and politics can be read into the difference between having shepherd’s pie, or gluten free Ottolenghi aubergine for tea.
Yet, beyond differences, I think the scene ultimately highlights their similarities. Coming together around food, we watch the characters navigate their troubles.
The relationship between Joy and Jimmy was something I backed immediately. The actors (Elizabeth Ayodele and Samuel Jordan) portrayed a pure and genuine chemistry that had me rooting for their success. Their storyline above all others moved me, I felt their love and their struggle as I watched them grow up and attempt to beat the odds of their class.
I did, however, think that there was potential for the production to pull on my heartstrings more. I must admit I did cry, but I think I could have cried more. Not something one usually wants, but there were moments where I felt a tug on the heart when I wanted a yank.
There were some incredible ensemble moments, the dramatic end of Act 1 and opening of Act 2 to name just a couple. Nevertheless, I found that sometimes there was an unnecessary or excessive use of ensemble when having the lead actors on stage would have been just as powerful, if not more.
In my opinion, Lauren Redding (Nikki) was the stand out vocalist. Her voice had a soul and warmth that enveloped you. Her character also had a wit and charm that complimented Poppy’s endearing awkwardness (Laura Pitt-Pulford).
If you hadn’t already guessed, I would certainly recommend watching Standing at The Sky’s Edge. It was a gritty, beautifully-sung musical that both warms and breaks your heart.
Gillian Lynne Theatre, 166 Drury Lane, London, WC2B 5PW until 3 August. Times: 7.30pm, matinees 2.30pm. Admission: £20 – £150.
Booking: lwtheatres.co.uk – 020 3925 2998 & nationaltheatre.org.uk – 020 7452 3000
