The perfect balance of a beautiful play and a captivating concert. Richard Hawley and Chris Bush have broken all traditional musical theatre laws and left nothing but a masterpiece behind. To those who say I don’t know whether it’s a play or a concert. It is both. The unconventional songs that could stand alone in an album against the top 40 are some of the best I’ve heard across all genres, not just at the theatre. If you take all the songs out you have a play that could compete with any on the West End. The fact this behemoth of a show has both is nothing short of remarkable.

Set around three generations of a real block of flats in Sheffield, the show tackles racism, prejudice, the class system, childhood, adulthood and everything in between and definitely holds no punches. The story is heartbreaking, funny, warm, cold, sad, happy and all of the above.

Robert Hastie has done an incredible job along with choreographer Lynne Page at bringing the heart of the north to a southern stage. You really do feel a true sense of honesty, warmth and definitely chaos. The movement sequences are just perfect. They match the style immaculately. You can’t help but experience it, whether that be shedding a tear, being fearful something might break in the chaos or genuinely happy for the real people you are observing. Having three generations of actors existing in the same space at the same time but only acknowledge those in their specific timeline is true genius and something that is hard to believe works until you see it. The twist of spoiler alert them all being related and intertwined with each other is jaw dropping.

Ben Stones’ set and costumes truly bring the show to life. Paired with Mark Henderson’s lighting design and Bobby Aitken’s sound, Stones creates such distinct timelines that coexist simultaneously yet you are still able to set them apart. A highlight has to be the three clocks that descend and tick with the years moving by as the show evolves. And of course you can’t forget the “I love you, will you marry me” neon sign that looms as an ever present theme throughout the generations. When Jimmy is on talking to his love and before leaving says “Oh and Joy…” and the neon “I love you” lights up to finish his sentence, chills get sent around the audience like a Mexican wave.

The onstage band are brilliant and add to the convert vibe. Guitar solos and mic stands being used for anthems create a unique musical like no other. Alex Beetschen has brilliantly directed the music of the show, with a clear uncompromising focus on truth. The songs have heart in abundance and not once is emotion compromised through the sake of sounding pretty. The remarkable cast provide the spectacular voices regardless but when we hear their heart sing rather than their vocal folds it is nothing short of mesmerising.

This brings us on to the cast and what a cast it is. Jonathon Bentley sets the bar high opening the show with “As the Dawn Breaks” and that bar never drops. Lauryn Redding has to be mentioned as her singing is phenomenal and thankfully her acting matches it. Her and Laura Pitt-Pulford were a relief to watch as they had large shoes to fill from Maimuna Memon and Alex Young, but both made the roles their own and proceeded to thrive. Nicola Sloane was delightful as she was in the production at the Olivier, with her impeccable comedic wit and timing. The ensemble also were extremely strong with the likes of Jamie Doncaster demonstrating an exceptional grace and truth in his characterisation.

Overall, this is a must see. A true piece of art.

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