Standing at the Sky’s Edge, Gillian Lynne Theatre Review

Written by Cathie for Theatre & Tonic

Disclaimer: Gifted tickets in exchange for an honest review.

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Brightly original and defiant in Drury Lane is currently a musical that is utterly unique in the West End. A brilliantly reconstructed tower block from the brutalist Park Hill estate towers menacingly over the audience.  Although this labyrinthine ‘streets in the sky’ awes and unnerves the audience in equal measures, this ensemble musical succeeds further in creating a towering emotional monument that resonates with joy, love, fear, despair and hope in a beautiful testament to the universal power of music and storytelling.

Standing at the Sky’s Edge is deeply rooted in its northern origins, drawing inspiration from the music of Sheffield songwriter Richard Hawley. While the play has already earned well-deserved praise and awards from previous runs at Sheffield’s Crucible and National Theatre, its West End transfer underscores its widespread appeal beyond its hometown. Using the themes of poverty, migration, industry decline, and the power of reinventing yourself within the crucible of 50 years of social trauma, it forges a unique and powerful narrative unlike any other major musical. This narrative unfolds across three timelines, from the hopeful '60s to the rough '80s and tumultuous 2010’s. The 60’s occupants are newly wedded couple Rose and ‘youngest foreman in the city’ Harry. In the gritty 80’s is teenage Joy, and cousins Grace and George escaping from troubled Liberia and in 2015 is posh Londoner Poppy trying to reinvent herself after a deeply traumatic event. Often overlapping to the extent of the audience seeing the characters of the three timelines using the shared space at the same time, this experience feels both intimate and larger-than-life.

The production team, including light and sound designers Mark Hendersen and Bobby Aitken, brilliantly use the apartment and backdrop of the tower interchangeably, pinpointing the highs and lows of the characters' lives with expert precision. Another highlight is that amongst this social commentary, the music remains the core of the show. The orchestra are showcased proudly throughout in the higher levels of the flats and performs beautifully to provide the show’s foundation. Orchestrator Tom Deering and the show’s musical director Alex Beeching have worked prodigiously to use the setting to make the music both cherished and a powerhouse of talent.

The phenomenal cast’s heartfelt performance is what elevates this show to five stars. They all have beautiful chemistry with each other in singing fantastic lyrics and in their narration of the events of the story. They are extraordinary at portraying these ordinary people in their difficult struggles which most of the audience will easily empathise with. The ensemble’s chemistry works well to showcase the character’s search for sanctuary, community and romance in the Park Hill estate. Samuel Jordan, Rachael Wooding, Elizabeth Ayodele, and Lauryn Redding were standouts who delivered performances that resonated deeply. Costuming supervisors Ben Stone and Katy Richardson also deserve praise for their choice of costumes which excellently highlight changes in the dates and lives of the characters with subtle nuance and distinction.

Brilliantly directed by Robert Hastie, the cast and crew have made this musical into a towering monolith of modern musical theatre and an instantaneous modern classic. I would definitely recommend bringing tissues to this utterly heart wrenching, devastating, hopeful and completely uplifting show. If you are interested in a sweeping romantic score, a love letter to the steel city of the north and a hopeful message of finding your own community then this is the show for you.

At Gillian Lynne Theatre until 3 August 2024.

☆ ☆ ☆ ☆ ☆