Review: Standing at the Sky’s Edge at the Crucible Theatre, Sheffield
The London theatre world is wonderful, there’s no doubt about it. The city has probably one of the best and most vibrant theatrical communities in the world. But there are also so many brilliant things happening outside of the capital, too, and highlighting some of them was one of the things that inspired me to start this site in the first place.
That’s why, when a press release about Standing at the Sky’s Edge appeared in my inbox, I knew I needed to go and see it.
Written by Chris Bush and Sheffield musician Richard Hawley, Standing at the Sky’s Edge premiered in Sheffield in 2019, then won both Best Musical Production at the 2019 UK Theatre Awards and the 2020 South Bank Sky Arts Award for Theatre. It is currently running at the Crucible Theatre in Sheffield and will transfer to the National Theatre’s Olivier Theatre in February.
What’s it about?
Standing at the Sky’s Edge tells the story of three families, in three different time periods, living in the same flat in Park Hill, Sheffield. In the early 1960s, steelworker Harry and his new wife Rose move in, optimistic about their future together. In the late 1980s and early 1990s, young Liberian refugee Joy moves in with family members and must attempt to build a new life for herself. And in 2015, southerner Poppy escapes from London for a fresh start in Sheffield after her girlfriend cheats on her.
As the narrative moves backwards and forwards through the decades, these three stories converge in surprising ways and all the characters struggle to find home, community, and identity as the world changes around them.
Any content notes?
Standing at the Sky’s Edge deals with a number of complex and sensitive issues including poverty, labour struggles, depression and mental illness, and life as a refugee. It contains some strong language.
In one scene, a man grabs a woman violently during an argument. There are several moments which involve heated arguments and shouting, and one very intense scene depicting a riot.
Standing at the Sky’s Edge: My Review
Never before have I seen a musical quite so firmly rooted in its location. At the interval, I commented to my partner that I absolutely loved Standing at the Sky’s Edge but wasn’t sure how well it would work with an audience unfamiliar with Sheffield, its history, and its people. Thinking again about this later, I’m not sure I stand by that assessment. Because amidst jokes about Henderson’s Relish, Sheffield’s rivalry with neighbouring Leeds, and Sheffield Wednesday vs. Sheffield United, the story and characters offer something universal and deeply human that we can all connect with.
The company of Standing at the Sky’s Edge. Photo: Johan Persson
This startling and multi-layered musical is brought to life by a large and exceptionally talented ensemble cast. A show like this requires intricacy and perfect timing to make everything flow, and this is pulled off near flawlessly. Alex Young shines as Poppy, Faith Omole and Samuel Jordan have a gentle and believable chemistry as Joy and Jimmy, and long-time musical theatre star Rachael Wooding delivers an emotionally charged performance as Rose.
The staging is innovative and makes effective use of different levels, with the main stage serving as the flat and the balcony (which also houses the band) coming into its own for the tear-jerking New Year’s Eve scene. Ben Stones’ set is a triumph, with a minimalist interior for the focal flat allowing it to work across the three storylines while the period-appropriate costumes (also by Stone) carry the job of situating each scene in its appropriate time.
Rachael Wooding as Rose and Robert Lonsdale as Harry. Photo: Johan Persson
The weaving together of the three stories is surprisingly fluid and seamless. If the premise sounds confusing, I promise it isn’t thanks to Chris Bush’s gorgeous writing. In one memorable scene, the residents from all three eras sit and eat a meal at the dining table, oblivious to each others’ presence. If I have a significant criticism of the writing, it’s that I did not like the ending to Poppy’s story at all, which felt like a regression after seeing the character go through so much growth.
Alex Young as Poppy. Photo: Johan Persson
At times, the songs feel more like musical interludes than an integral part of the plot. Though it’s difficult to identify the exact line between the two, it felt a little more “play with songs” than a traditonal musical. That’s not a criticism, though, just an observation and perhaps unsurprising given that some of the songs come from composer Richard Hawley’s back catalogue and others were written specifically for the show. The music itself is resonant and emotionally satisfying, with standouts including “There’s a Storm A-Comin’,” the soundtrack to the breathtaking riot scene, and the title song “Standing at the Sky’s Edge”, which opens Act 2.
Faith Omole as Joy and Samuel Jordan as Jimmy. Photo: Johan Persson
There are stellar vocals aplenty in this show, with incredible singing voices in particular coming from Faith Omole, as Joy, and Maimuna Memon as Nikki. Unfortunately there were times, particularly in Act 1, where the sound balance was completely off and the band drowned out the singers.
Standing at the Sky’s Edge a long show, coming in at just under 3 hours including the 15 minute interval, but with so much going on it is consistently pacy and rarely drags. It is a beautiful tribute to an area with a complex past and divisive present, and to the people who have lived, worked, loved, and found community there.
Where to get tickets
Standing at the Sky’s Edge runs at the Crucible Theatre, Sheffield until this Saturday, 21 January 2023, and tickets for the remaining performances can be purchased from the venue. The show will transfer to London on 9 February, where it will run at the National Theatre’s Olivier Theatre until 25 March. Tickets are available from the venue.