The art form needs to make room for lesser-known names, to refresh and enlarge the talent pool, our critic writes.
Where are the new British musicals? The question bears asking as Britain’s defining musical theater composer, Andrew Lloyd Webber, starts previews on Broadway of his latest show, “Bad Cinderella.” In April, Lloyd Webber’s “The Phantom of the Opera” will close on Broadway after a record-breaking 35-year run in a city where he has often seemed to be the only English practitioner of musicals around.
Who else might carry forward an art form in which Lloyd Webber, 75 next month, surely can’t be expected to go it alone? There have, of course, been the occasional offerings from George Stiles and Anthony Drewe (“Betty Blue Eyes,” “Honk”), or from Elton John, whose “Billy Elliot” ran for years on both sides of the Atlantic. John’s recent “Tammy Faye” premiered Off West End last year at the buzzy Almeida Theater, and has life in it still.
But musicals need to make room for lesser-known names as well, to refresh and enlarge the talent pool. How gratifying, then, to encounter two recent London openings from comparative newcomers, both in large playhouses, both enthusiastically received. And each show knows how to energize an audience — no small achievement in itself.
That’s not to say that either “Standing at the Sky’s Edge,” at the National Theater, through March 25, or “Sylvia,” at the Old Vic, through April 8, is ready for the Broadway spotlight, if that is even their goal: Both are determinedly British in their subject matter, and “Sylvia,” in particular, has further work to do.
It was nonetheless cheering to note the visceral response of playgoers swept up in the sheer passion of stories vigorously told; on this evidence, there seems to be an appetite for shows that expand the scope of what an English musical can be.
“Standing at the Sky’s Edge” arrives in London after two runs in Sheffield, the northern English city where it is set, and where both its composer-lyricist, Richard Hawley, and book writer, Chris Bush, are from.
And yet you don’t need to be familiar with the city’s Park Hill housing complex, a Brutalist architectural landmark, to be drawn into the musical’s skillful weave of three story lines set in the same apartment there. Ben Stones’s imposing concrete set includes the signature graffito, “I love you, will u marry me,” that was painted on a concrete bridge of the housing project in 2001 and became an unlikely Sheffield icon.
Love in its various forms turns out to be the topic connecting the show’s three plot strands, each set in different eras. We see Rose (Rachael Wooding) and Harry (Robert Lonsdale) starting a family in the early 1960s: Harry, a steelworker, takes pride in being the youngest foreman in his company’s history, but slides into depression as the once-mighty steel industry in the region goes into decline.
That same flat some 30 years later becomes home to a teenager fleeing war-torn Liberia. Played by a radiant Faith Omole, that character, Joy, isn’t sure whether Park Hill, her supposed place of refuge, is a castle or a prison. And when she embarks on a mixed-race relationship with a sweet local boy, Jimmy (Samuel Jordan, in a knockout performance), Joy confronts the realities of racism head on: You wince when someone asks her family if they know how to use a refrigerator.
Bringing the story line forward to 2016 is the transplanted Londoner Poppy (a clarion-voiced Alex Young), whose anxious parents need reassurance that their daughter has moved to “South Yorkshire, not Siberia.” Attempting a fresh start in a property that has been newly refurbished and a neighborhood that has gentrified since Joy’s time there, Poppy can’t escape her former lover, Nikki (Maimuna Memon), who shows up hoping to rekindle their romance.
A roving narrator (Bobbie Little) appears now and then to connect the thematic dots. Home, she tells us, may “simply be a series of boxes that stops the rain,” but, in the director Robert Hastie’s production, there is also a profound sense of connection to the city. (Hastie runs the Crucible, the Sheffield theater where the show began.)
Hawley’s full-bodied score, meanwhile, folds this singer-songwriter’s back catalog together with new songs, yearning and hopeful, that catch at the heart. The title song, taken from a 2012 album, is a rousing company number that gets the second act off to a propulsive start, and whose elation is characteristic of the show as a whole.
“Sylvia” also looks toward England’s past, this time to tell the real-life story of the celebrated suffragist Sylvia Pankhurst, an activist who fought over many years to secure the right of British women to vote. She is at the impassioned center of this well-meaning, if dramatically sketchy, musical from the director-choreographer Kate Prince. The impressive designer here, as with the Sheffield-set musical, is Ben Stones.
An earlier version of the show had a brief run at the Old Vic in 2018 as a dance-led work-in-progress. It has since been reworked as a largely sung-through musical that casts a strong glance toward “Hamilton.” Like Lin-Manuel Miranda’s trailblazer, “Sylvia” refracts history through an ethnically and musically diverse lens: The music by Josh Cohen and D.J. Walde draws from funk, soul, R&B and hip-hop. Sharon Rose, in the title role, recently appeared as Eliza in “Hamilton” in London.
But “Sylvia” has a superficial feel that “Hamilton” never had: It makes caricatures of the historical figures it presents, including Winston Churchill, and skimps on the family drama at its fractured heart, though the soul singer Beverley Knight is in tremendous voice as Sylvia’s mother, Emmeline.
It’s left to the giddy, near-perpetual motion of the staging to carry us through, even when the writing doesn’t. And Prince, a notable figure on the British dance scene, is canny enough to know how to end proceedings on a high. The show ends with a pair of anthems, “Stand Up” and “Rise Up,” celebrating women’s progress and exhorting the audience to get to their feet. And, swept along, they do.
Source: Theater - nytimes.com
