"Why do you run?" It's a question at the core of this stunning production of the stage adaptation of the classic 1981 film Chariots of Fire. The story is inspired by the heartening real exploits of athletes Harold Abrahams and Eric Liddell on the 100 year anniversary of their triumphant performances at the 1924 Paris Olympic Games, and brings it's own triumphant performances with it.
The question of "why do you run?" presents the conflict at the centre of both of our protagonists, who both have reached the peak of their powers, but have done so in vastly different ways and for very different reasons. Liddell (Michael Wallace), a devotee of the Christian Mission, runs for the belief that his ability was a gift from God and sees it as a way of honouring the lord and doing his duty, while also giving him an outlet through his fame, to spread the word of God.
Abrahams (Adam Bregman) on the other hand runs for what is initially presented as a far less noble reason, simply to win. While those around him run for the love of the sport, because it makes them happy, because it makes others happy, Harold runs through a need to be the best, better than any and all. This necessity, we later come to understand, comes from the obstacles he faces as both a Jew and the son of an immigrant in the aftermath of the First World War, despite his clear privilege as a student at Cambridge.
Both protagonists tussle with their sense of duty throughout, leading to conflict with each other and themselves. Of course there's the aforementioned duty to their respective religions and families, but there's also turmoil around their duty to their station and professionalism, especially among Abrahams as a member of the elite classes. Both struggle with their duty to the king and their nation as well, most keenly felt later in the show by Liddell when he is asked to race on a Sunday (the day of worship).
The play absolutely does not work without stellar performances from the two leads, their performances are arguably one of the best aspects of this production. Both Adam Bregman and Michael Wallace shine in their respective roles. Bregman brings a convincing steely determination to all his scenes, you can feel the burning desire Abrahams has to win whenever he is on stage, along with the heightened conflict within himself. Wallace portrays Eric Liddell with more reservation, the conflict within him is presented much more subtly, trying to do his duty without conflict. Their scenes together evoked images of the Lionel Messi vs Cristiano Ronaldo debate in football, one being naturally gifted with the ability of the best while the other works tirelessly to become the best.
The early conflict between Abrahams and Liddell is perfectly illustrated in their first race against each other in London. As the two are running, separated by other competitors, their expressions and mannerisms tell the whole story. Bregman portrays Abrahams as pained, angry, attacking the ground with every stride, while Wallace has Liddell running with something of a smile on his face, his gait and stride seemingly a lot more effortless. The crux comes when Abrahams looks over to Liddell, breaking "the first rule" of running and subsequently losing the race.
Other standouts among the cast include Tom Glenister as Aubrey Montague, the reserved friend of Abrahams and Bessy Ewa as musical starlet Sybil Evers, giving Ewa the chance to display her operatic style and musical talent, despite the show not being a musical. Comedic brilliance comes in the form Benjamin Westerby as lovable toff Andrew Lindsay, and Leo Wan who first appears as the bumbling Foster, Lindsay's butler, and then as The Prince of Wales - a real testament to his range of comic ability.
The movement and motion in this production is a constant source of spectacle. The creative team makes full use of the stage and auditorium, and even the foyer outside to create a dizzying display with actors running behind rows of seats, out of the auditorium and into the foyer on one side and back into the auditorium on another. This is at it's most exciting during the spectacular scene when Abrahams and Andrew Lindsay (Benjamin Westerby) compete in the Trinity Great Court run. We were seated right next to this race, and the feeling of the back of our heads as our hair was displaced by the wind as they rushed past was as exhilarating as spectating an actual Olympic event.
This isn't just used for the racing set-pieces either, there are multiple other occasions where the cast will disperse and integrate amongst the audience, making us all feel like a part of the production. On one occasion, during a visit to the theatre to see the enigmatic Sybil Evers (Bessy Ewa) perform, Abrahams pops up from one of the rows and squeezes past audience members to leave the auditorium, as naturally happens at every theatre show.
The set plays a huge part in integrating the audience as well, making us feel as though we were the spectators within the stadium. Ben Stones provides yet another stunning backdrop to a show at the Crucible, with the two part revolving stage adding to the sense of speed and dynamism on show, working hand in hand with the treadmills that move on and off the stage to create a constant swirl of motion. The set expands in the second act to add to the feeling of sporting spectatorship among the audience with Olympic stadium signage in reverse along the back wall, indicating being inside of the stadium itself. The cast make full use of each part of the stage with an integrated balcony space above utililised to create an extra sense of spectatorship and upper classes. Ben's influence is also felt in his costume design, juxtaposing old and new to transport us back 100 years.
This maybe the most comprehensive transformation of the Crucible auditorium for a Ben Stones set that we've seen. His recent sets for both Standing At The Sky's Edge and Miss Saigon were limited to the stage but here it extends into the seating with whitewash gym style paint on the walls and voms. There's magic in a set like this, it is able to transport you from a 1920s university gym to the Scottish Highlands, and then to a Stadium in Paris with just a few moving parts.
This show represents a changing of the guard for Sheffield Theatres as it is the last to be directed by outgoing Artistic Director Robert Hastie. Throughout his tenure, he has put accessibility at the forefront of the Sheffield Theatres ethos at this at it's height here. In certain scenes, the performance has fully integrated British Sign Language, with some conversations taking place exclusively in sign language, with subtitles displayed above. The character Sandy is portrayed by the fantastic Ciaran Stewart, a deaf actor who also starred in Hastie's production of Much Ado About Nothing, which was co-produced with Ramps on the Moon. Chariots of Fire also boasts a supporting cast from Sheffield People's Theatre (SPT), Sheffield Theatres' intergenerational theatre company, which Hastie across his tenure programmed many shows to include an ensemble of SPT members.
This Sheffield Theatres' production of Chariots of Fire is well worthy of a gold medal and a fitting end to Robert Hastie's tenure as Artistic Director. This production of the timeless and timely story is an impressive display of lighting, staging and costuming, it's a visual feast of storytelling, so much so that we've booked to see it again. Stellar performances from the entire ensemble ensures that the production is triumphantly uplifting and exciting, and the perfect warm up for the opening of this summer's Olympic Games in Paris.
Chariots of Fire runs at the Crucible Theatre until Saturday 27th July. Tickets are available here, or at the Crucible box office.
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