Chariots of Fire, Crucible Theatre Sheffield Review
Members of the Company in Chariots of Fire. Photo by Johan Persson.Written by Kirsty for Theatre and Tonic.
Disclaimer: Gifted tickets in exchange for an honest review.
Robert Hastie’s final production in his tenure as Artistic Director of Sheffield Theatres does not disappoint. On the 100th anniversary of 1924 Olympics, Olivier winner Mike Barlett has adapted the 1981 film to bring this to a new audience.
Chariots of Fire tells the story of Harold Abrahams and Eric Liddell, played by Adam Bregman and Michael Wallace respectively, and their journey to represent Great Britain in the 1924 Olympics and the struggles both men face on their road to Olympic glory. We first meet Abrahams as joins Cambridge University in 1923 and faces prejudice and anti-semitism, and despite this he wins a place in the Olympic Team to run the 100 metres which was dominated by the US team. His Cambridge friends Aubrey Montague (played by Dear England’s Tom Glenister), and Lord Andrew Lindsay (played by Benjamin Westerby) also join him on the Olympic squad. The friendship between the three men is wonderful to watch, and you root for all three of them when they get to Paris.
Eric Liddell also faces his own struggles on his journey to the Olympics, he is a highly successful sportsman, and a devout Christian. His strong faith brings challenges which change the face of the 1924 Olympics as his refusal to run the 100 metre heat on a Sunday means that he ends up running the 400 metres, and he never faces his greatest competitor, Abrahams.
The ideas of visible antisemitism and standing up for your own religious beliefs made the piece feel incredibly relevant and modern, despite the story being set a century ago.
Bessy Ewa (Sybil) and members of the Company in Chariots of Fire. Photo by Johan Persson.Ben Stone's set design shines throughout the production, working in perfect harmony with Richard Howell’s innovative use of lighting especially with the lights built into the stage to create the perfect canvas to allow Mike Barlett’s writing to shine throughout. The opening scenes had the ensemble running on treadmills rolling back the time from the upcoming 2024 Olympics (which are being held in Paris), right back to 1923 when Abrahams joins Cambridge. The treadmills were used throughout the piece although many of the races were run through the auditorium itself, with one dash including Bregman running out of the auditorium into the foyer and back onto the stage. The physical strength and fitness of the cast were amazing to watch with special mention to Sally Frith who ended the show running at high speed to bring the story back to the modern Olympic day.
Read: Interview with Adam Bregman, Chariots of Fire
Bregman and Wallace were perfectly cast as Abrahams and Liddell, with Wallace bringing the struggle that Liddell had with not letting anyone down and still maintaining his strong Christian beliefs. Lois Pearson played Jennie Liddell, Eric’s sister, and she played the perfect foil to Liddell’s sporting desire reminding him of his religious expectations in joining their parents as missionaries in China.
Ciaran Stewart played Liddell’s best friend and unofficial coach Sandy, and again Hastie and his team showed how effortless true inclusion can be with the integration of British Sign Language in scenes with Sandy, especially with Jennie. I really hope that this inclusion does continue with Elizabeth Newman when she takes over as the new Artistic Director.
Members of the Company in Chariots of Fire. Photo by Johan Persson. Whilst the story centred on Liddell and Abrahams, the whole ensemble was incredibly strong especially Bessy Ewa as Sybil Evers, and Chanel Waddock as Florence MacKenzie who are the romantic interests of Abrahams and Liddell.
Special mention must be given to Richard Kant and Mark Lockyer who play multiple roles ranging from Cambridge Dons to the Olympic Committee and they were phenomenal in every role. Waleed Elgadi who played Abraham’s coach Sam Mussabini was another scene stealer, and the inclusion of his character also reminded the audience how difficult it was to be anything other than an English Christian in the time period, another message which felt very relevant to the modern day.
Alexandra Faye Braithwaite’s sound design was another highlight, and although Vangelis’s iconic instrumental piece was only used at the end, the original music composed by Frew was incredibly reminiscent of the Vangelis piece without sounding like we were being treated to soundbites.
Chariots of Fire is a wonderful swan song for Hastie, and even if you are not remotely interested in athletics, the play has a message that everyone can relate to.
At Crucible Theatre, Sheffield until 27 July.
