Tag Archives: Lauyrn Redding

“Standing at the Sky’s Edge” at the Gillian Lynne Theatre

Originality is a big draw for this exciting new show from Richard Hawley. It’s about working-class people in Sheffield…which you don’t get very often. And the stories are told in a slightly different way. Events around three groups of characters, from different times, who live in the same tower block flat, are all interwoven.

Set in the 1960s, 1980s, and the present day, we take in a lot of history. From post-war optimism and immigration to industrial decline and unrest, then gentrification. And a good deal of attention is paid to the changing role of women. I’m not sure what a tourist crowd will make of it. But the book from playwright Chris Bush is skilful – nothing is overplayed, personal stories dominate, and these private lives are moving.

The narration is poetic (to a fault at times), beautifully delivered by Mel Lowe and deliberately contrasting in its grandiosity with the action. For it is ordinary people and “the traffic of life” that’s given attention. It’s a simple focus on romance but with such a large cast, and three big love affairs going on, the show feels inclusive and embracing. And, again, just that little bit different.

Elizabeth-Ayodele-and-Samuel-Jordan-in-Standing-at-the-Sky's-Edge-credit-Brinkhoff-Moegenburg
Elizabeth Ayodele and Samuel Jordan

There are stand-out performances in the show – but not stars in the way you might expect. We follow Rose and Harry over the course of their lives, so Rachel Wooding and Joel Harper-Jackson impress with their performances as these characters. Joy and Jimmy show us young love and Elizabeth Ayodele and Samuel Jordan bring huge charm to these parts. Meanwhile, Poppy and Nikki have problems in the present day and make angsty roles for Laura Pitt-Pulford and Lauryn Redding, who do a great job. The singing from all is fantastic. But this précis doesn’t reveal how much is going on.

Lauryn-Redding-and-Laura-Pitt-Pulford-in-Standing-at-the-Sky's-Edge-credit-Brinkhoff-Moegenburg
Lauryn Redding and Laura Pitt-Pulford

Standing at the Sky’s Edge is constructed to give equal weight to the different stories. Even more, to highlight other characters and the ensemble who join them. It creates a very different feel as the whole cast take moments as leads. And when they all sing together, there are guaranteed goosebumps. The result is, at times, odd. An audience likes a focus. But through the talents of director Robert Hastie, it isn’t confusing. And the sense of place, of community, created is incredible. Originally from The Crucible Theatre in Sheffield, via The National Theatre, Ben Stones’ excellent set and costume design help immeasurably here.

Above all, Hawley’s songs are fantastic. A great mix of styles with strong lyrics and a bold emphasis on big emotions. Not one number is bad, and plenty bring a tear to the eye. The show does lose momentum after a tremendous opening for act two. There are fewer songs and Bush’s dialogue starts to dominate. And, without giving to much away, things become morbid. A lot of time has been spent telling us Poppy and Nikki’s relationship is unhealthy, so it is odd to have it as some kind of happy ending.  I guess that at least the surprises keep coming. Standing at the Sky’s Edge is one of the most original musicals I’ve seen in a long time.

Until 3 August 2024

www.skysedgemusical.com

Photos by Brinkhoff-Moegenburg 

"Macbeth" at Wilton’s Music Hall

There was bad and good luck for the Watermill Theatre last night with its transfer of Shakespeare’s Scottish play (I’m risking nothing). After just one scene, Lady Macduff needed medical attention – sympathies and best wishes to her. Fortunately, a decision was made to persevere thanks to a member of the audience who was in the production previously. Gratitude to Emma Barclay for helping out – she did a great job. Although the circumstances for reviewing aren’t ideal, it’s only appropriate that I also go on.

So huge credit to the show’s small cast who gave little sense of being thrown by events – their professionalism is commendable. The production is marked out by its youthful appeal and tension (maybe a few extra nerves helped). Director Paul Hart clearly has plenty of ideas and, even if they are a mixed bag, they can be appraised regardless of injuries.

On the plus side, the depiction of the violence in the play through movement is done well (congratulation to Tom Jackson Greaves). The lighting effects, from Tom White, and projections from Louise Rhoades-Brown, are very good. The idea of using actor musicians is always impressive. But the delivery here needs finessing: the songs chosen prove distracting and, more importantly, too many lines are lost in the noise.

Emma McDonald in Macbeth at Wilton's Music Hall
Emma McDonald

If Hart wants a Macbeth that’s brash and bold then he has succeeded. But the consequence is a production that’s overblown and loud. Both leads are strong performers who seem wasted. Emma McDonald’s Lady Macbeth is, frankly, camp – a decision that does not serve the character well, no matter how great her outfits. It’s a shame, since McDonald and her stage husband have great chemistry and fantastic stage presence.

In the lead, Billy Postlethwaite possesses all the magnetism you could wish for as a guerrilla-style soldier with a hipsterish edge. I liked the way this Macbeth is out of his depth when it comes to plotting. But there’s no respite from madness for Postletwaite to work with. The witches (nicely delivered by the whole company) turn him too quickly. Both he and the production are hampered by the conceit of Hotel Macbeth. Macbeth as a rebel and rock star I get, but not a hotelier!

While Lucy Keirl has a good night doubling up as Seyton and Macbeth’s Porter, little else seems achieved by the hotel idea. It’s not the only tweak Hart makes that puzzles: are Macduff’s children really killed? And why is Duncan strangled first? But the abundance of ideas, like the events of the evening, show a company full of spirit. Regards again to the injured Lauryn Redding. Her colleagues displayed a determination the whole ensemble should be proud of.

In repertory with A Midsummer Night’s Dream until 15 February 2020

www.wiltons.org.uk

Photos by Pamela Raith