Strap on your running shoes and brace yourself for a theatrical sprint like no other - Sheffield Theatres' revival of Mike Bartlett's Chariots of Fire ignites the Crucible stage with Olympic fervour and unrelenting passion. Adapted from Colin Welland's screenplay of the 1981 motion picture, the tale of real-life runners Eric Liddell and Harold Abrahams emulates the same heart-pumping energy onstage as it would have in the 1924 Paris Olympics where they both competed. 100 years on, Sheffield audiences get a taste of the grit, determination, and triumph that defined an era for competitive sports.
While both representing Great Britain, Eric (Michael Wallace), a devout Scottish Christian who dedicates his running to God, and Harold (Adam Bregman), an Jewish Englishman who runs to distract from the antisemitic prejudice he faces, develop a rivalry as they both prepare to race in the 100m sprint. While boarding the ship to France, Eric realises the race will take place on a Sunday and thus pulls out, eventually swapping to the 400m sprint which he ends up winning, while Harold takes the medal for 1st in the 100m.
One of this producton's main strengths lies in Ben Stones' set design. Sheffield Theatres never fails to utilise the Crucible's thrust stage in innovative ways, and this time we begin in an old school gym, with wooden flooring, gymnast rings hanging from the ceiling, and traditional manual treadmills around the stage's perimeter. In the second act, we're immersed in the 1924 Paris Olympics with a breathtaking set reveal that garnered a collective gasp from the audience. There's a real sense of showmanship about the sets which makes audience members excited to be part of the space.
The treadmills become a key tool for storytelling and mood building as the plot goes from race to race, with many of the cast taking to the treadmill for extended lengths of time. The sweaty, breathless and stimulating atmosphere this creates is truly impressive and you very often forget the actors aren't elite athletes; their stamina and unrelenting energy, paired with well choreographed slow motion sequences by Ben Wright, adds an electric touch which makes the audience feel like they too are about to cross the finish line.
Directing this as his final show as Sheffield Theatres' Artistic Director, Rob Hastie's tenure is going out with a bang. Including notable use of integrated sign (Eric's friend Sandy, played by Ciaran Stewart, is deaf or hard of hearing), Hastie brings a contemporary relevance to the historical narrative, upgrading the production from its 2012 original and ensuring that the spirit of inclusivity is as integral to the performance as the athletic feats it portrays. The contemporary relevance of the show gets a final nod in the closing moment, when a female runner in modern day GB kit takes to the treadmill, and Vangelis' iconic music track (the synth beats of which are hinted at from the very beginning) finally lets loose.
In Chariots of Fire, the Crucible stage becomes a track where history and heart race side by side, delivering a performance that is as inspiring as it is exhilarating. Don't walk to the box office. Run. Chariots of Fire runs at Sheffield Crucible until 27th July - for more information and tickets, you can follow the link here.
⭐️⭐️⭐️⭐️⭐️ (5*)
Gifted tickets in return for an honest review | photography by Johan Persson
Comments