Standing At The Sky's Edge Review (Gillian Lynne Theatre, London)

17 July 2024 I 19:30 I Gillian Lynne Theatre, London

⭐⭐

Standing At The Sky's Edge, in the final weeks of it's Gillian Lynne Theatre run, is a jukebox musical of Richard Hawley's writing, dramatizing Sheffield's Park Hill Estate and those who have inhabited it over the years. Whilst being one of Britain's most successful new British musicals with outstanding attraction to fans, I unfortunately felt an emotional disconnect from Robert Hastie's direction. The production is eager to impress, striving to be clever in an assortment of stylings. First conceived by Sheffield Theatres, the tenderness of the score desires a more effortless visual outlook. However, being local to the Sheffield area, the present warmth is familiar and well received.

To open, Ben Stones' set is breathtaking in the space, honouring a semi-realist, deconstructed front of Park Hill's brutalist flats. From the depth of the stage to a variety of entrances, Stones opens up many possibilities to take advantage of. However with grand design, performers can appear swallowed up amidst the action. Seating on the front row of the stalls may slightly impact my viewing, though the spacing needs more chance to breathe in order to flourish.

To expand on the crowded notion, Standing At The Sky's Edge sees three intertwined generations existing in the walls of a single flat, sharing the stage as an amalgamation of decades. As three families live in one space, at the same time without acknowledgement of one another, others invade the privacy and intimacy of a home. The parallels can occasionally be interesting, though I lost the essence of a home, where a linear structure could access more emotion for generations to exist without disruption.

A similar impression is left on Mel Lowe's Connie, where a demanding narrative role imposes over the musical. Chris Bush's book has beautifully gentle moments, but these aesthetics appear too performative to possess true heart.

Joel Harper-Jackson and Elizabeth Ayodele's characters (Harry & Joy respectively) are written with great intention, both holding political motives where, although set decades ago, still hold a lot of relevance. An atmospheric turning point features as Thatcher comes to power, where this historical presentation is more accessible for older audiences. Nevertheless, the stresses of indifference and low income living as a result are portrayed with clarity.

Lauryn Redding, starring as Nikki, is a breath of fresh air through her rendition of Open Up Your Door. Paired with a delicate lighting design from Mark Henderson, this is my standout moment from the show, encapsulating an endearing northern charm through expressions of love. Her performance is so present, gifting humour towards a tormented range of characters.

I enjoy elements of Lynne Page's inspired choreography, yet a contemporary way of moving becomes anachronistic against settings of the 1960s, to give an example. The vision behind the Act One finale is marvellous (There's A Storm A-Comin'), fixating a distressed climax with repetitive, sharp movement to create anarchy.

A thoroughly enjoyed musical by many, my review is not indicative of the talent present within the cast and creative team. I can recognise the brilliance in Hastie's Standing At The Sky's Edge, it simply doesn't appeal to my emotional empathy through an ambitious staging. At 2 hours 50 minutes, a formidable run time isn't for everyone, but I urge people to see this new musical for themselves, undoubtedly different to anything else the West End currently showcases.