Chariots of Fire Delivers A Grand Experience

Chariots Of Fire, the epic saga of two runners on completely different but divergent paths to the 1924 Olympics in Paris. An Academy Award Winning film, adapted to the stage by highly respected playwright Mike Bartlett, and brought to the Grand Theatre for its North American Premiere by the Grand’s Artistic Director Dennis Garnhum. To tell the tale effectively, the Spriet Stage has been turned into an immersive stage experience with a running track through the auditorium, and seats that are actually on the stage. It is a magnificent transfiguration, that immediately leaves the theatre-goer in anticipation of the things to come.

The tale is about two men – the son of a Lithuanian Jew, Harold Abrahams, who is driven by antisemitic prejudice – and Eric Liddell, the son of a Chinese Scottish missionary, who is powered by his Christian faith. Though vastly different characters, both men possess a self-punishing dedication to achieve success on the track.

Upon entering the Grand Theatre, I was instantly bonded with the actors already on stage, and mesmerized by the track built through the auditorium. It felt like I was part of the play, as opposed to watching it. There are two bleachers on the stage that are not only part of the set, but available on-stage seating for the audience. Throughout the performance, I found myself wondering what it would be like to experience the play from those seats.

The constant movement and fluidity of this high-energy play have the cast moving through each inch of the auditorium. There is often chatter and cheering among the cast and it’s easy for the audience to feel as though they should be participating with their own cheers and claps.

It’s that constant movement that sets the theatre-goer up for a moment early in the production when the actors and set are actually completely still, our introduction to Sybil Evers (Anwyn Musico). The songstress delivers a captivating melody but I only see her when I glance at the giant mirror on stage. She’s singing from the audience. She has the complete attention of actors and playgoers. For a moment, no one is thinking about running. It was breath-taking.

Harry Judge and Wade Bogert O’Brien both give magnificent performances in their Grand Theatre debuts.

Judge’s uncompromising delivery of Harold Abrahams was charming, and I was captivated by his portrayal from the onset. While I watched him grow from training to Olympic gold medal winner, I found myself with a compelling need to watch Judge’s reactions to each challenge Abrahams faced. I was never more drawn-in than by Judge’s interpretation of Abrahams 1920 Olympics effort, where he was late to start when he saw a runner move before the starting gun was fired. In this race scene, Judge, the set, the cast, the direction, and the audience come together in a measurable moment of anticipation. We are devastated when his efforts are met with failure. For a brief moment, the breath of the audience slows as we nervously await Judge’s next move with bated breath. Captivating.

Judge’s performance is elevated, by the support that Bogert-O’Brien’s Eric Liddell provides. Uplifting and encouraging, Bogert-O’Brien transported us to a time when honour was somewhere between faith in your God and loyalty to your country. His portrayal of the devout Christian and true family man was unshakable. He was often our break of comic relief, while also being the audience’s source of inspiration and strength. Bogert-O’Brien shines brightest as Liddell, in the scene when he finds out the Olympic race is on the Sabbath. The entire theatre is suspended in anticipation, as Liddell must choose between his faith and his race. When everyone else believes it to be an easy choice, and faced with criticism from every direction, Liddell rises in his religious conviction and shocks everyone. To do so, he draws from the love of his sister, Jennie Liddell (Erin Breen) to make the very difficult decision. The chemistry between Bogert-O’Brien and Erin Breen is palpable, and makes the moment of decision, that much more powerful to the audience.

The entire production is immersive. From the unique stage designed by Bretta Gerecke, to the large set and cast, to the wonderful Roaring 20’s costume design, everything about Chariots of Fire is worthy of a North American premiere.

“It’s something I’ve never experienced before,” said Garnhum, who is also the show’s Director. “It’s just so uplifting from the moment it begins, telling stories of Olympic dreams.”

It was also a tremendous undertaking for Garnhum in his first season with Grand Theatre. From the five years it took to ultimately secure the North American rights to the show, to re-inventing the auditorium, his passion for this story is widely apparent. Garnhum has included the audience in every aspect of the production. He should be overjoyed with the results.

As was I.

The beneficiaries of his tribulations, are the London theatre-goers. Who will rarely be provided with such a unique, and different theatre experience; even from a world class theatre like the Grand.

Chariots of Fire will be playing until May 5th.

Don’t miss it.

Notes:

Tickets are still available.