Standing At The Sky’s Edge has been something of a slow burner, first opening in Sheffield, where the show is set, in 2019, before a revival in 2022 led to its debut at the National Theatre.
Now, this musical opens in the West End, where I’m seeing it for the first time. It has an interesting genesis, with Richard Hawley’s song catalogue being mined to score Chris Bush’s book.
The place is the Park Hill estate. There are three families in the show, each resident in the same flat, decades apart. We get a prompt when the year changes, but otherwise, we watch all the stories unfold together.
So, Harry and Rose come into the “streets in the sky” from the slums in 1960, full of hope and excitement. Joy and her family are migrants from the civil war in Liberia in 1989, while Poppy has moved into the place after gentrification in 2015.
To tell a story that spans six decades is a tall order, but Standing At The Sky’s Edge rises to the challenge and grabs it. This show is “a love letter to Sheffield” while noting the human cost of its industrial decline.
It’s as diverse as the region, with Joy entering into a romance with a white boy, Jimmy, and Poppy seeking distance from her girlfriend, Nikki. The decline of the estate in the 1970s and 80s is keenly felt.
There is a huge ensemble cast that gives the sense of a bustling estate, walking, singing, even at one point dancing among the audience, and even the iconic graffiti is represented in flickering neon.
Robert Hastie’s production uses a multi-level set to offer a range of perspectives and, sometimes, a cheeky nod to the fact we are watching a show with a live band.
The set and costumes by Ben Stones are richly detailed, while Mark Henderson’s lighting is a riot of colour while focusing on key moments when required.
Lynne Page’s choreography is excellent, finding the emotional core to highlight the musical moments. Bush’s script has both social conscience and Northern humour. Hawley’s songs fit like a glove.
There’s much to enjoy here while appreciating the power of change, loss, and despair. Within the key characters, Joel Harper-Jackson (Harry) convices every step of the way, while Elizabeth Ayodele (Joy) inhabits her role with exuberance.
But everyone stands out here as Laura Pitt-Pulford (Poppy) and Rachael Wooding (Rose, brilliant across nearly thirty years) offer different perspectives on the ‘modern’ woman.
There is a strong young company, too, with Renee Hart (young Connie) and Sam Stocks (young Jimmy) on stage last night.
Where Standing At The Sky’s Edge stands out with its scope, energy, and heart. It knows, respects, and celebrates these people. It’s a big, affectionate hug to Steel City while recognising its current place.
Standing At The Sky’s Edge is at the Gillian Lynne Theatre with tickets here. As ever, shop around for the best deals.
*****
Image credit: Brinkhoff-Moegenburg