Review: Standing at the Sky's Edge, at the Gillian Lynne Theatre, London

It has been a while since I was last in London wasn't it? In fact, it is my first time this year - the last time I went, was for Sunset Boulevard! 

So it's about time isn't it? And since I spent a few days there, doing three two-show days (that was exhausting!), I wanted to pack in as much as possible, seeing stuff that had garnered critical acclaim I had not chance to see yet. And, also, shows that are not currently on the road, or are not likely to be for a while. 

I started my London journey being transported to Sheffield, for the winner of last year's Best New Musical Olivier: the West End transfer of Sheffield Crucible's and the National Theatre's Standing at the Sky's Edge. 

One near the top of the list for not just myself but also my parents (who came to see the show with me). See, I have Sheffield blood in me - my Mum is Sheffield born and bred, and it's where my parents met and got married. 

I therefore had a feeling that this was going to be a special one for all of us

Standing at the Sky's Edge tells three different stories focusing on three women across three generations: Rose, a newly-married Sheffield native who's story begins in 1960: Joy, a teenager feeling persecution with her family who's story begins in 1989: and Poppy, who's story begins in 2015, with a move to Sheffield from Brixton. The one thing they have in common is that they live in the same flat, in the Park Hill building in Sheffield. 

Across time, we see their highs and lows, joy and tragedy; and we also see the building transform from new beginnings, to deterioration and back around again. Chris Bush's books shows us the Northern grit of the city; the sense of community, without, thankfully, going overboard.  It ultimately feels very real. And if you know Sheffield well, there are plenty of notes to areas of the city.  

Local Richard Hawley wrote the score, and again, it brings with it a tone of Sheffield's best, with notes of Artic Monkeys and Pulp; of rock, indie and folk. It's a great choice of cast album for someone who is not a traditional musical theatre fan, similar to Girl from the North Country. 

The story jumps forward and backward in time seamlessly, without it getting confusing 

One scene that blew me away was a dinner scene. We see the main characters from each timeline sit down for dinner, at the same time, but only conversing with characters from their timeline. It sounds small and a bit confusing, but when you see how it is choregraphed, your jaw will drop. 

In fact, whilst I'm on it, I need to applaud this amazing cast: the ones I wish to highlight however are Mya Fox-Scott, Rachael Louise Miller and Lillie-Pearl Wildman, who are all understudies in the show, taking over the roles of Joy, Rose and Nikki respectfully. All three of them have big scenes in their own way. 

You don't have long left to catch this love letter to Sheffield

In fact,  you only have a few weeks, as it ends 3rd August. I hope this spectacular, heartfelt show gets the opportunity to go on a UK Tour, particularly as many Northern cities as possible. Putting biases aside, The Lowry's Lyric would be the perfect stage to host it.