13 July 2024 I 14:00 I Crucible Theatre, Sheffield
⭐⭐⭐⭐
There is something so tremendously relevant about the Crucible Theatre's revival of Chariots Of Fire, a historical envisioning of Harold Abrahams and Eric Liddell's race for gold at the Paris 1924 Olympics. Now that we approach the Paris 2024 Olympics a hundred years on, we see a consistent relationship between the race and why athletes compete for glory, a question that never changes despite the generation we live. The play explores the juxtaposition between public and privatised sports fame, a very honest account of Abrahams and Liddell that isn't always glorified, still honouring their legacy in the world of sport.
The spellbinding thing about the Crucible Theatre is the ability to adapt the space beyond recognition. And Ben Stones' set design is nothing short of a miracle, forming a mammoth amalgamation of settings to take over the entire auditorium, in reflections of gyms, universities and race tracks. Albeit sometimes it feels as if everything has been thrown at the wall, this epic legacy is handled as such. Act Two opens with international flags lowered above the audience, where this national pride immerses you into an Olympic stadium. I truly felt transported into one of the greatest sporting events in the world, validation of Stones' theatrical power.
From the moment you enter the space, the attention to detail is clearly present, with a pre-set of performers exercising and stretching, setting a relevant atmosphere that fuels our excitement as viewers. With the wonderful Seb Slade in front of us, we don't even question the theatricality of it, immediately thrust into a believable workout space. There are some incredibly charming moments from Richard Howell's lighting design, combining gentler emotional aesthetics in asides, to strobe lighting to really lift the life-changing tensions of the races.
Written and adapted by Mike Bartlett, I have long been an admirer of his writing style, though Chariots Of Fire can occasionally lose momentum in early scenes, struggling to get off on the right foot. Transitionally, these can disengage from the passion of the piece, dialogue feeling empty in the space. However, as themes progress, and unwavering beliefs are contested, the purpose of the text is more established.
There are a multitude of races across the performance, the spirit of running truly alive. And across each individual one, the style drastically changes, from exiting the conventional auditorium space, through the audience and dramatized treadmill contests, it is edge of the seat theatre! Seated on the front row, the most impactful scene features runners sprinting around the stage's revolve, the acceleration allows us to feel the wind rushing by, it is utterly exhilarating!
Performing as the dream-chasing duo, Adam Bregman and Michael Wallace (Abrahams and Liddell respectively) demonstrate astounding drive for acting in the same way that their characters push for victory. The competitive streak is investing from the moment the pair are introduced, where Wallace's undying commitment to his religion is impassioned and truthful. The dynamic they represent, the psychological conflict is everything we expect from this production. Additionally, Bessy Ewa (Sybil) and Chanel Waddock) deliver a really balanced feminine presence, both as romantic interests that positively alter the narrative, the life beyond the sport. Leaving the theatre, I find myself desperate to look into the real accounts of these events in so much more detail!
Robert Hastie's vision is inspired, a fusion between contemporary and historical sports practice, honouring those who came before us and what the Olympics stand for today. In a very nearly perfect adaptation, the races entertain in visually staggering sequences, but the exposed athlete is where Bartlett's script excels!
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