Skip to main content

Standing at the Sky's Edge


Gillian Lynne Theatre

166 Drury Lane, London WC2B 5PW 020 3925 2998

Gillian Lynne Theatre banner
  • Synopsis
  • Theatremonkey show opinion
  • Reader reviews
  • Performance schedule
  • Ticket prices

WHERE TO BUY TICKETS

Signed performances: 22nd June 2024 at 2.30pm.

In Sheffield there stands a tower block. Home to Poppy, who has left London for a new life. Couple Joy and Jimmy and Rose and Harry.

A snapshot of modern Britain in a new musical by Sheffield singer-songwriter Richard Hawley. Robert Hastie directs the West End transfer of this hit at his Sheffield Theatre, and then at the National Theatre in 2023.

 

 

 

(seen at the afternoon preview performance on 21st February 2024)

Not since “Cats” has a production fitted so perfectly into this theatre. Ben Stones’s set is seamlessly integrated (some dodgy screws in the stage floor vents aside) into the raw concrete auditorium, and the whole feels like an extended room in a flat on the Park Hill, Sheffield estate where it is set.

This glorious musical has undergone a further pep injection since its February 2023 Olivier Theatre transfer from its original home at the Crucible Theatre, Sheffield. Robert Hastie is able to let the show spill into the aisles at times, the circle corners acting like neighbourhood-street-corners in-the-sky from which to observe goings on over the decades.

All the monkey has said before still stands, so it will confine the rest of its comments to note a few of the cast.

Samuel Jordan is an even more rounded Jimmy, smoother and deeper in his relationship with Joy (Elizabeth Ayodele). Ayodele matches him for spirit, her wisdom growing around the twisting pillar of her life.

A mass of confusion initially, Laura Pitt-Pulford’s Poppy finds her Northern self with a beautiful vocal to match. Lauryn Redding’s Nikki has clear motivation and a powerful growl when sharing a tune or solo.

Reprising her role, Rachel Wooding as Rose, with Hol Harper-Jackson as Harry share joy and pain in equal measure. Their son Young Jimmy, Luca Foster Lejeune at this performance turning in a confident young man who makes the most of his young dance partner, the equally charismatic Chioma Nduka as Young Connie.

Backed up by a community who never fail to give voice to the place they call home, moving with style against the brutalist background, the result is as unique as Henderson’s (pronounced ‘Enderson’s, never forget), with the same Sheffield life-defining taste. Do not miss this.

Standing (at the sky’s edge of course) ovation given once again.

_______________________________________________

(seen at the Olivier Theatre, National Theatre, afternoon performance on 8th March 2023). Some actors have now left the cast.

It must be something they put in the Henderson’s Relish (silent H in Henderson) that allows Sheffield to create such brilliantly original musicals. First “Everybody’s Talking About Jamie” and now this amazingly clever, subtle and very beautiful show.

Three time periods, three very real groups of people inhabiting the same flat at the Sky’s Edge – the 1957 Brutalist-style Park Hill estate built to house working people who deserved better places to live after the war. “Streets in the Sky” palaces which became dangerous undesirable slums in the 1980s only to be regenerated in 2015.

Composer and lyricist Richard Hawley and Chris Bush, local people, take a very simple idea and without preaching, judgement, un-nerving political correctness or simply un-nerving politics give us ordinary, instantly recognisable lives with stories ringing out clear and heart-wrenchingly true.

Every tale is interwoven like the richest tapestry, vast yet every stitch delighting the eye and creating the kaleidoscope of colours forming the whole.

Ben Stones uses the full depth, width and height of the Olivier stage to create a facia of Park Hill, orchestra housed on the first floor, with much of the ground a flat in outline, a street in the sky in the foreground, dank corners at the back. The clothes will have anyone who knows each era remembering, the generic bland furniture working through to serve them all.

Each song is from the heart, solo or choral there isn’t a note or syllable wasted where something needs to be said or more importantly felt. Styles are matched to character with the precision of a Saville Row tailor and there is never an element of imposition or assumption. Metaphors and similes are simple and startling, and Hawley is unafraid of non-sequiturs and local imagery.

The cast deliver impressively as we fall under the same spell the locals feel about their homes, their personal and working lives, town and time they inhabit.

The monkey refuses to say more about the plot, as it is hoping against hope the show will reach a vast audience with the West End transfer it should be given by right. Suffice to say that you will know these characters, share their hopes, dreams and gasp in agreement or not with their life choices. 

Particular notes must go to Alex Young as Poppy, trade mark glass always in hand (Young as well as her character), “I’m Looking For Someone To Find Me” more than a plea.

Robert Lonsdale as Harry, Rachel Wooding as Rose, “For Your Lover Gave Some Time” and “After The Rain.” The irrepressible gentleman Jimmy – Samuel Jordan’s fine voice on “Midnight Train.”

Connie (Bobbie Little) our friend and informer. The anger of Nikki (Maimuna Memon), strength of Joy (Consuela Rolle, in for absent Faith Omole), to mention just a few of an ensemble who turn emotions on a syllable.

The chance for the National Theatre to be truly national has been seized with this collaborative transfer. More than just reflecting our recent past, the show examines in minute and seldom undertaken forensic detail the actual effects on the most ignored strata of society of decisions taken far away by those remote from real lives.

Each soul here is glorious, and this show permits every soul in the audience to combine in that glory.


Standing ovation. On the sky’s edge, of course.

 

P.S. The National's own river frontage with its brutalist balconies would be perfect for a free "al-fresco" performance, don't the venue think... just saying...
 

Legacy reader reviews

Just read your review of this and agree with your sentiments - I really enjoyed it and loved how different it was to what I usually go to. I did find that the songs didn’t always fit the drama or move it on but as I enjoyed the songs can’t really complain. Would love to see it again, would be interesting to see how it was staged in a different theatre as this seemed to be a perfect match.
__________________________________________

Think Blood Brothers meets Billy Elliot meets The Hired Man and you have a fantastic 2 hours and 50 minutes of classic theatre. Fortunately I only cried for an hour and a half.

An outstanding ensemble cast, stunning band, everything works!

Taljaard
__________________________________________

I was really surprised how much I enjoyed that although I thought once again that the I would have enjoyed it more if the story had been set in chronological order and not in three different years. I liked the stage design and the songs. ****
__________________________________________

Fabulous.

Great seat close up to the stage. Theatremonkey was spot on with side view seat recommendations at a great price 👍😀.
__________________________________________

Saw 'Standing At The Sky's Edge' last night (20th March 2024) with 1/2 price tickets courtesy of a special offer link on your ever invaluable Website.

Stalls I33/34, front row of the main section before the 'sunken' area, separated from the central section by the stairs aisle. Absolutely fantastic seats (perhaps though not for those under 5ft due to the barrier. Wouldn't hesitate to sit there again. Having sat right at the far end for 'School of Rock' and in the middle of the same section for 'Cinderella' there is no bad seat, and if happy to have a side view (but really close up) then the end seat can be an absolute bargain.

The show was Gritty, Northern, and poignant and for this 59 year old, a trip down memory lane for the subject matter & in particular the clothing & hair styles. The wonderful set and band coupled with a very accomplished cast made for a thoroughly entertaining evening. 

3.5 / 5.


Chris Biggs (A View from the Stalls)
 

 

 

The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Tuesday to Saturday at 7.30pm
Wednesday and Saturday at 2.30pm and 7.30pm
Sunday at 3pm
NO MONDAY PERFORMANCES.

Runs 2 hours 50 minutes approximately.

Extra performance at 2.30pm on 1st August 2024.

WHERE TO BUY TICKETS

Theatres use "dynamic pricing." Seat prices change according to demand for a particular performance. Prices below were compiled as booking originally opened. Current prices are advised at time of enquiry.

CLICK SEATING PLAN TO ENLARGE IF REQUIRED. USE "BACK" BUTTON TO RETURN.

Some details may change, the monkey will update as available.

Gillian Lynne Theatre prices seating plan

FRIDAY RUSH: Every Friday at 1pm, a number of £10 seats are also released online and by phone for the following week's performances via the National Theatre's website www.nationaltheatre.org.uk

Back To Top