Bush / Hawley Standing at the Sky's Edge

(West End edition)
West End Auflage
ISBN: 978-1-78850-775-2
Verlag: Nick Hern Books
Format: EPUB
Kopierschutz: 6 - ePub Watermark

E-Book, Englisch, 120 Seiten

Reihe: NHB Modern Plays

Hailed as 'the most exciting new British musical in years' (WhatsOnStage), Standing at the Sky's Edge was originally written as a love letter to Sheffield, charting the hopes and dreams of three generations over the course of six tumultuous decades, navigating universal themes of love, loss and survival. With irresistible songs by legendary singer-songwriter Richard Hawley and a beautiful, hilarious and gut-wrenching book by Chris Bush, Standing at the Sky's Edge reveals the history of modern Britain through the stories of a landmark housing estate. It is a heartfelt exploration of the power of community and what it is we all call home. It was first performed at Sheffield Theatres in 2019, directed by Robert Hastie, before transferring to the National Theatre in 2023, and then the Gillian Lynne Theatre in London's West End in 2024. It won the Olivier Award for Best New Musical, the UK Theatre Award for Best Musical Production and the South Bank Sky Arts Award for Theatre.

Chris Bush is a playwright, lyricist and theatre-maker. Her plays include: Otherland (Almeida Theatre, London, 2025); Robin Hood and the Christmas Heist written with Matt Winkworth (Rose Theatre, Kingston, 2024); an adaptation of Ibsen's A Doll's House (Sheffield Theatres, 2024); Rock/Paper/Scissors (Sheffield Theatres, 2022); an adaptation of Charlotte Brontë's Jane Eyre (Stephen Joseph Theatre, Scarborough, and New Vic, Newcastle-under-Lyme, 2022); (Not) the End of the World (Schaubühne, Berlin, 2021); Hungry (Paines Plough, 2021); Nine Lessons and Carols (Almeida Theatre, London, 2020); Faustus: That Damned Woman (Headlong, Lyric Hammersmith & Birmingham Rep, 2020); The Last Noël (Old Fire Station, Oxford, 2019); Standing at the Sky's Edge, a musical with music and lyrics by Richard Hawley (Sheffield Theatres, 2019, revived 2022 and at the National Theatre in 2023, West End 2024); The Changing Room (National Theatre Connections, 2018); Steel (Sheffield Theatres, 2018); an adaptation of Pericles (National Theatre, London, 2018); The Assassination of Katie Hopkins, written with Matt Winkworth (Theatr Clwyd, 2018); What We Wished For and A Dream.

Autoren/Hrsg.

Bush, Chris

Hawley, Richard

Leseproben

ACT TWO

POPPY

Scene One

CONNIE

CONNIE. Years pass when you’re not looking.

Rot sets in

And other things too

When life catches in the gears of the waste disposal And grinds, and grinds, and grinds

Shine’s worn off – cracks starting to show.

No matter though – we’re made of stronger stuff.

And as it goes, tonight’s election night –

So who knows what might change?

We vote for rocks and hard places

Expectations at an all-time low

Still, things can’t stay the same.

POPPY MARCUS

POPPY. I’m just saying Nick Clegg has kind eyes. ( .) Anyway, it’s not the winning, it’s the taking part that counts.

MARCUS. That is such a Lib Dem thing to say. (.) I saw someone’s smashed the sign again.

POPPY. Hmm?

MARCUS. The ‘I love you’.

POPPY. Oh yeah, barely lasted a week this time.

MARCUS. And speaking of broken hearts –

POPPY. Jesus, how long have you been preparing that?

MARCUS. I’m just worried about you. If you don’t shag something soon, you’re going to forget how.

POPPY. Leave me alone or I’ll report you to HR.

MARCUS. Two literal years moping after your psycho ex –

POPPY. I’m not! And Nikki isn’t… Just don’t. Worry about yourself.

MARCUS. Why should I be worried? Max and I are going to get married in Rome.

POPPY. You’ve been on two dates.

MARCUS. But I’m not afraid of commitment. () Oh, and Karen’s birthday on Tuesday – very partial to a lemon drizzle, so I’m told.

POPPY. Great – I’m on it.

POPPY MARCUS CONNIE

CONNIE. So life goes on

We learn how to survive

These balconies like battlements in the right light

A castle built of streets in the sky

Election number two,

And hope fizzes like sherbet, tingling on your tongue –

This one’s gonna get us back on track.

Love blossoms in the most unlikely places

Love amongst the piss-smelling walkways

The world’s most effective air freshener

Love will save us

Or at least see us through another night.

JOY () GRACE

GRACE. I want you home before dark. You heard what happened to that boy last week –

JOY. I know.

GRACE. Within an inch of his life. Animals. While I’m out this evening I want the door bolted the whole time.

JOY. Couldn’t I go out too? I mean if it’s safe for you –

GRACE. It isn’t the same.

JOY. But –

GRACE. I am an election observer – I am participating in the democratic process –

JOY. I know, but –

GRACE. No buts. (.) When your mama comes you can ask her about it, but right now it’s my rules, okay?

JOY (). Okay.

JOY GRACE

GRACE. Hey little genius – forgetting something? Who are you walking with?

JOY (). Just a friend. () I’ll be straight home.

JOY GRACE GRACE

CONNIE. All grown up. Almost.

And all her hopes are now pinned to this place

Unlikely as it sounds

For now almost content.

Not with election three,

Where endless winter births a bitter spring

Stomachs knot at what the night might bring

But life can still surprise us, even here –

HARRY ROSE JAMES JAMES HARRY

Ten years of trying, then he arrives

A miracle imperfectly timed

A blessing and a curse.

Another mouth. An anchor. A weight.

Not that you’d have it any other way.

So you crack on, cut back, make do,

Because tomorrow is another day.

CONNIE

Scene Two

HARRY ROSE JAMES

ROSE. Right – both got your lunches? Both got your scarves?

JAMES. Yes.

HARRY. Yes, Mum.

ROSE. And keep out of trouble, the pair of you.

HARRY. We’ll see.

JAMES (). Sometimes it falls to the working man to take up arms and fight for those inalienable rights that others take for granted.

ROSE. Is that so?

HARRY. Not bad, that, is it? ( JAMES) And what else?

JAMES. Sometimes you’ve got to give the bastards a hiding.

HARRY ( ROSE). Well, he didn’t learn that from me.

ROSE. Behave. ( JAMES) Done your teeth?

JAMES

Show me.

JAMES

Right – bathroom – do ’em quick, before you’re late.

JAMES

Cheeky beggar. Can’t think who he gets it from.

HARRY

He’ll not be in those boots long. Toes poking through already.

HARRY. Right.

ROSE. I’ll ask our Linda if she’s got owt for him. Or your Evie might.

HARRY. No need.

ROSE. No bother. They race through ’em at this age.

HARRY. I’ll sort it.

ROSE. We both grew up in hand-me-downs –

HARRY (). Not him. Not him, or what’s the point in…? I’ll sort it. Two new pair by end o’t’ week. Just let me know what you need.

ROSE. Okay. () And I’ll be knocking on some doors with Barbara this afternoon, but I should still be home before you.

HARRY. Might be late. Big night for the union.

ROSE. You’ll be in The George then?

HARRY (). I’ll be working, I’ll be… Do you know what’s at stake here? You think it’s bad now? We’ve seen nothing – just you wait till –

JAMES

Not too late, I promise. ( JAMES) Be good. Listen to your mother.

HARRY ROSE

ROSE ( JAMES). All clean?

JAMES ROSE

Alright then, let’s get you gone too. Chop-chop.

JAMES. Mum?

ROSE. Yes?

JAMES. Will I be a steel man like Dad when I’m older?

ROSE. Is that what you want?

JAMES. I’d rather be an astronaut.

ROSE. Is that right?

JAMES. I’ll be the first man on Mars. I’ll go further than anyone ever has before.

ROSE. Well, you can’t build a spaceship without steel.

JAMES (). Does Dad build spaceships?

ROSE. Might do.

JAMES. Mum?

ROSE. Yes?

JAMES. Why’s he always angry?

ROSE. He’s not.

JAMES. He is.

ROSE. It isn’t… It’s just work – it’s a difficult time.

JAMES. Because of the spaceships?

ROSE. That’s right. Not building as many spaceships as they used to. But don’t you worry. Spaceships, trucks, the trains you watch coming and going from the window – it’s all steel. People will always need him.

JAMES. Okay.

ROSE. Right. Got everything?

JAMES .

Good lad. Let’s go.

JAMES. Race you!

JAMES

ROSE. No running! James! James!

ROSE

Scene Three

JAMES JIMMY ( ) JOY ROSE...