Standing at the Sky’s Edge – Gillian Lynne Theatre

Pictures: Roy Tan

Standing at the Sky’s Edge continues at the Gillian Lynne Theatre, London.

Star rating: five stars ★ ★ ★ ★ ★

Standing at the Sky’s Edge is described as a “love letter to Sheffield” and while it very much is, it is also a profound love letter to life.

The story expertly intertwines three different stories of ordinary people spanning three decades, arriving ‘as the dawn breaks’, ‘sharing one roof, one sun, one hope’, and living in the now-listed Park Hill estate. The opening in 1961 sees Rose (Rachael Wooding) and Harry (Joel Harper-Jackson) as a newlywed couple, one of the first families on the new estate; Joy (Elizabeth Ayodele) arrives reluctantly in 1989 with her relatives Grace (Sharlene Hector) and George (Baker Mukasa), escaping war in Liberia; and finally southerner Poppy (Laura Pitt-Pulford) comes on the scene in 2015 with her ‘Ottolenghi’ and Yorkshire Tea Gin in hand, escaping her love life in London and searching for a community and a sense of belonging.

Chris Bush’s libretto exudes authenticity, complementing the refreshingly natural performances. Its greatest strength is in making the audience care so strongly about each of the characters and their fates. The writer lightly touches on political issues facing the residents and the state of the building, including a major election in each timeline and how this affects their lives. The witty humour injected is nothing short of brilliant and adds a lightness amidst the shadows. Bush also isn’t afraid to ask provocative questions that the characters seek answers to, the gentrification of the building being one.

Richard Hawley’s music pairs perfectly with this beautiful book. The score is hugely versatile, ranging from solo emotional ballads to breath-taking group numbers. The staging is tackled very differently from a traditional musical, as numbers are often performed using a mic in a gig-like style. The songs are not necessarily used to push forward a character’s journey but instead present the feelings, atmosphere and viewpoints of the entire community. Lynne Page’s choreography mostly uses stylised movement, inspired by the everyday actions of the inhabitants, presenting individual’s feelings.

Under Robert Hastie’s direction, the production unfolds with a captivating allure, drawing the audience into the world from the first line. With clarity and precision, Hastie navigates the complex narrative, ensuring every moment resonates with the audience. The staging is flawless and effortless, one particularly ingenious scene intertwines the three decades of households eating at the same table, using the same Henderson’s Relish as they discuss their settling into the estate.

The Act I finale ‘There’s a Storm A-Comin’’, the tension rising as the storm brews into a huge crescendo, leaves the audience spellbound with its intensity and emotional impact. The overwhelming desperation of a broken community overcomes your body and soul. The reprise is just as spectacular, punching you in the stomach as simultaneous life-changing experiences result in fireworks followed by a few seconds of silence that speak volumes.

‘I’m Looking for Someone to Find Me’ is exuberantly joyful as the whole cast fills the stage as couples in sync, representing the love filling the building and couples of the time. ‘Tonight the Streets Are Ours’ is lively and fun, led by Mukasa with a hand-held mic, depicting the passing of time with repeated sensationalised actions as the inhabitants settle into their homes and develop relationships.

Every member of the cast is a standout.

Wooding gives an outstanding performance as witty and caring Rose, transcending 30 years. Her rendition of the tragic ‘After the Rain ‘is a phenomenal powerhouse of emotional turmoil, as her voice soars above the audience and blows you away. She becomes the rock of her family, developing great resilience and fighting spirit. Harper-Jackson, as her husband Harry, promises her they are ‘on top of the world’ and adds ‘I will look after you’. The actor truly embodies this sense of determination and diligence as they settle in, but it is his deterioration that is truly striking as the character becomes almost devoid of emotion. His ‘My Little Treasures’ is stunning, as he voices his struggles and rage, the cast accompanying from the balcony creating a distance between Harry and society.

Pitt-Pulford is a triumph as classy Londoner Poppy, somehow managing to portray her as vulnerable and strong at the same time. ‘Naked in Pitsmoor’ is particularly impressive as she showcases her angelic yet commanding vocals, revealing an inner heartbreak, which draws us into her story. Her kindness and nervousness is perfectly paired with Lauryn Redding who plays her bold ex-fiancée Nikki who is consistently trying to win her back. Redding brings a quirky banter to the role that means that despite Nikki being flawed you cannot help but love her. The chemistry in the couple’s heated dialogue is hugely passionate and the push and pull in their relationship is undeniable.

Ayodele is stellar as timid, intelligent and inquisitive Joy. The transformation that the performer portrays, as Joy grows up on the estate, makes the character almost unrecognisable by the end. Her rich vocals in ‘Cole’s Corner’ are electrifying as Joy yearns for freedom. Mukasa brings brightness and fun to the family as cousin George and Hector is endearing as ‘Auntie’ Grace, her vocals unreal in the title song.

Samuel Jordan plays kind-hearted yet assertive Jimmy. His skills are unmatched. He automatically charms both Joy and the audience with his humour and protectiveness over her. Jordan’s soulful ‘Midnight Train’ shows off his mesmerising vocals, lamenting his feelings of being trapped in the cycle of life. The company assists in this feeling as they fill the stage, walking in the same sections repetitively.

The love story between Jimmy and Joy is magical as it tugs on your heartstrings. Every interaction puts a smile on your face, and you are instantly captivated by their romance. Their bond is sweet and heartfelt and it is clear that they are soulmates.

Mel Lowe plays narrator and estate agent Connie, their short narrations in between time shifts keeping the audience informed and adding a lyrical effect that goes hand in hand with the poetry of Hawley’s songs. Their appearance at Poppy’s party helps to connect the dots between the stories.

The large ensemble is an absolute necessity in this production as it embodies the sense of community spirit in the Park Hill neighbourhood, often leaving you not knowing where to look as every character has a story to tell. The choir of spine-tingling voices creates a massively powerful effect.

Ben Stones’ colourless raised floorplan of the flat illuminated by LED lights epitomises the notion that home is defined by the people you share it with rather than its furnishings. Otherwise it’s just “a series of boxes to keep the rain out”. The stage evokes the brutalist Park Hill estate and the urban landscape it represents. The inclusion of the outside walkway and ‘streets in the sky’ add depth to the communal living theme, while the sign declaring ‘I love you will u marry me’ serves as a beacon of love amidst the starkness. Mark Henderson’s lighting design plays a pivotal role, shifting atmospheres with each scene, while a balcony from the main structure of the building accentuates both isolation and community among characters. In its simplicity and complexity, the set design prompts reflection on the essence of home, human connection and belonging.

Despite its titular focus on the ‘sky’s edge’, it transcends its geographical setting in an undeniably groundbreaking production. It is brutally heart-breaking and life-affirming at the same time. For me, it is the best musical in the West End (and one of the best musicals I have ever seen). Everything about it is original and genius. It is more than just a musical, it is an unforgettable experience that touches the soul and leaves an ingrained mark on the heart, reminding us that “it’s the hope that kills you, but also what keeps you alive”.

Marina Holmes