It is hard to imagine a musical being set on a council estate in Sheffield but that is exactly where you are transported to as soon as you walk into the Gillian Lynne Theatre. The Park Hill Estate looms imposing and spectacular with the infamous ‘I love you, will you marry me’ neon sign illuminated above. At the front of the stage is a simple apartment set where most of the action takes place, cleverly and seamlessly spanning decades. This is a musical as much about the place as the characters with the estate becoming another character with a beating heart and an identity of its’ own.
Standing at the Sky’s Edge
It is worth buying the programme to fully understand the history and significance of the Park Hill Estate in Sheffield if you’re not familiar with it. It not only provides the setting for the musical but also the context of the residents whose lives we bear witness to over the course of three hours. This is Sheffield through and through – from the writer Chris Bush to composer Richard Hawley and the fact it premiered at the Crucible Theatre in Sheffield in 2019.
There are three families who move into their flat in different decades and unusually for a musical, all three stories are strong and relatable. This is a play with some music rather than a traditional musical that tells the story through song. Perhaps that isn’t surprising when you consider Richard Hawley’s involvement is to allow his back-catalogue to be used rather than him writing the soundtrack specifically. Having said that, the music perfectly moves scenes on and provides moments of reflection for the characters. As Hawley says himself, ‘I was definitely keen for it not to be a happy la-la-la sort of musical – it was always going to be a bit dark.’
Standing at the Sky’s Edge
There are no stars in Standing at the Sky’s Edge – there are main characters, but each story is equally important and poignant. There are no protagonists, unless you count society as a whole – it is circumstances, politics and economics that drive the fates of these characters. You witness the huge amount of change the UK went through (and more specifically Sheffield) between the 1960s – the 2000s narrated through the eyes of three families in different situations. All came to Park Hill with a different dream, the chance of a new start in life and a pride in their new home.
The large swing ensemble provide real depth to the bigger numbers and creates a hustle and bustle on stage – there is so much to focus on during these performances. Whilst there aren’t dance numbers as such, there is such a complexity to the choreography. The final number going into the interval is unbelievable to watch – it is visceral in its impact. The multi-level scenery of the high-rise block gives an extra dimension with some of the action being centred on the balconies – not to mention the band being front and centre rather than below the stage.
Standing at the Sky’s Edge
Standing at the Sky’s Edge is difficult to compare such is its uniqueness but it is more akin to a play than a musical due to the depth of development we see in each character and storyline. Between each scene, you want to see more from the characters, and the music is an interlude before you can get back to the action on stage. The characters are likeable but flawed which gives them a realism – they are relatable as people you might have met in your lives, or via stories you might have heard from your family. Because of this, you form an emotional connection with them which you will still feel long after leaving the brutalist London theatre.
This is not your traditional musical but whether you are a fan of plays or musicals, you will not come away disappointed by the exquisitely talented writing, incredible acting, emotive music and creative stage setting. Don’t try and compare it to anything because quite literally, it stands proudly in its own right.
Book Your Tickets Today!
