By Grace O'Sullivan, Third Year English and Theatre
What is the solution to a lift breakdown disaster? To sing, of course. Theatricalising a claustrophobic’s nightmare, 10 Stories High takes place in an unconventional setting - an elevator. Everyone in the cast has been derailed from their destination as the lift crunches to a halt. The feverish frustration of not getting to your destination infects the atmosphere. Hierarchy falls to the wayside as everyone, from the formidable Dianne to the curious caretaker Declan, is forced to cohabit together whilst they await fixture. Directed by Beccy Smart and Charlie Mutimer, this tiny space is navigated perfectly, with movement choreographed with just the right touch of awkwardness.
I’m staggered by the ambition of Honey Gawn-Hopkins and Lucy Tytherleigh, who have composed not just a handful of songs, but an entire musical. To realise their musical vision, they have collaborated with the talented Finlay Cooper to fully orchestrate the piece. Each song is distinct, exquisite and progresses the narrative - which is needed in the snappy 45-minute time frame. The humour of the songs is matched seamlessly by Leo Russell’s dialogue which, in the words of an audience member, ‘never misses a beat - every joke landed and got a laugh.’
I’ve been introduced to the cast through the deft marketing work of Isabel Rose Hay and Anna Byham on social media, which has expertly crafted a picture of what to expect from the show. Each character has a distinct, inimitable personality. I admire how evenly spread everyone’s stage times are, with each cast member having their opportunity to shine and show off their singing and acting expertise.
The corporate rat race is questioned throughout, most poignantly in Evie King’s formidable portrayal of Dianne, who replaces maternal love for her daughter Ciara (Mhairi Simpson) with the thundering need to provide financially. Simpson uses this opportunity to reach out to her mother. Workaholism also impacts the relationship between Jenny (Zara Connoley) and Nicola (Evanthe Gee) whose electric resentment is barely contained within the confines of the lift’s walls. While the couple’s relationship is ultimately saved by the old cliche - loving communication - we are asked to interrogate our relationship to work culture. The apocalyptic meltdown of the characters when they are set ‘Five Minutes Behind’ highlights the ridiculous impatience that corporate life is fuelled by.
The comedy of this musical cannot be missed, with the jarring joviality of the American couple (Evie Clark and Will Crudas) clashing against the English despair - ‘does this whole country have a rod up its rectum?’ Cooper Brown particularly shines as the quaking assistant Reuben, whose heart is embarrassingly attached to his sleeve. The detail earns extra laughs - Lily Robinson’s dungaree-clad ‘Cherry’ is a die-hard moderator of the Doctor Who Reddit forum and attempts to hack the mechanics with a sonic screwdriver (not to be mistaken as a vape).
Rudy’s character, performed beautifully by Ilona Hoffman, touches close to the bone as she expresses the strain of being a job-searching graduate. You could feel the final years in the room sigh with relief as we saw the desperation and humiliation of this plight in the song ‘Rudy’s Rejection Therapy’. The solos are all pitch perfect, and the cast do a brilliant job of smoothly transitioning into a supportive chorus.
Amid this maelstrom of emotion and experience is caretaker Declan, played by Finley Carty-Howe. His provocations remind me of the Ancient Mariner, speaking ominously to the group with half-realised wisdoms. However, by the end, we realise that we may have underestimated Declan’s power - he proclaims ‘you will all leave this lift different!’ The stagnancy of the situation has the potential to tip into boredom, but avoids so with the consistent character building and shifting dynamics.
The joyfulness of the show was reflected in the audience afterwards, who were fizzing with pride and excitement. ‘The level of talent was stunning - it could have been a full-on West End show, and it’ll go down a storm at Fringe!’
If you’re lucky enough to be heading to Fringe this summer, 10 Stories High is totally worth watching. The ambition of a student-devised and performed piece is huge, and it pays off fantastically. 10 Stories High will be performed at The Space @ Niddry Street from August 11th-16th.
Will you be at the Fringe Festival this summer?
