Review: CHARIOTS OF FIRE, Sheffield Crucible
Photo credit: Johan Persson
Lights up in 2024. The year of the Paris Olympics, due to start in a matter of weeks. After a cleverly costumed and staged opening sequence, we are taken 100 years back in time. Chariots of Fire, adapted by Mike Bartlett from the film of the same name, follows well known athlete Eric Liddell and rising star Harold Abrahams as they prepare for and compete in the 1924 Paris Olympics.
Chariots of Fire is Robert Hastie’s final production as Artistic Director of Sheffield Theatres and he pulls out all the stops. Audiences will arrive at the Crucible expecting to see lots of running and races, and they will not be disappointed. Races aplenty there are, each staged completely differently and wonderfully creatively. Ben Stones’ set design is expansive, filling every corner of the playing space, with Hastie also ensuring action takes place across the whole auditorium. As part of the set design, a row of seats has been removed to create a track for running, but it would have been nice to see this used more than it was. Movement director Ben Wright also brings in his ingenuity in staging the many running sequences, with Richard Howell’s lighting design and Frew’s compositions enhancing them.
Alongside the athletics, the play also has a great story centring around two characters who feel fully human but you can also get behind. Adam Bregman and Michael Wallace as Harold Abrahams and Eric Liddell respectively are outstanding lead actors. Bregman’s Harold Abrahams has an air of youthful naivety about him and a dash of cockiness, making for a very believable man who wants to become a successful professional runner. Wallace’s Eric Liddell is certainly more likeable as the more experienced runner who holds fast to his Christian faith, meaning it’s easier to root for him, but the contrast in characters between Liddell and Abrahams means we get a varied narrative keeping the audience engaged.
Whilst the play is most certainly driven by Bregman and Wallace, the supporting cast also boast some great performances. Lois Pearson returns to the Crucible stage, now in a professional capacity, after previously giving wonderful performances with Sheffield People’s Theatre. Pearson’s Jennie Liddell is a joy to watch, her Scottish accent never wavering. Her rapport with Wallace is believable, creating a lovely yet - at times - challenged on stage brother-sister relationship. Ciaran Stewart also has great chemistry with Wallace in the role of Sandy with a warmth coming through his performance throughout the show. Sally Frith and Bessy Ewa deliver some exceptional singing vocals throughout the play, whilst Leo Wan is utterly hilarious as Foster.
Chariots of Fire is a brilliantly staged show, demonstrating just why Robert Hastie is so well regarded. It will be sad to see him leave Sheffield Theatres, but we’re looking forward to seeing all the exciting and innovative work that will almost certainly be in his future.
**** Four stars
Reviewed by: Jacob Bush
Chariots of Fire plays at Sheffield Crucible until 27 July, with further info here.