One of the chalenges for Chariots of Fire, apart from how to stage an Olympics in a theatre, is how to make a play interesting when almost everyone already knows the outcome. Mike Bartlett's adaptation of the film, which is now over 30 years old, doesn't totally succeed in creating dramatic tension and at times, ironically given the subject matter, is a bit slow and plodding. One scene, when the future Edward VIII flirts with a Canadian girl, complementing her on her "American" accent is telegraphed miles away. Where it does succeed however is in recreating marvellous characterisations of Harold Abrahams and Eric Liddell through superb performances from James McArdle and an immensely likeable Jack Lowden as an entirely unsanctimonious Liddell. An excellent supporting cast flesh out a huge range of other characters and demonstrate remarkable levels of physical committment - this is the first play I have seen to feature a pre-match warm-up. The staging of the races is incredible thanks to another remarkable design by Miriam Buether and, despite the results being predictable, the use of patriotic anthems and sparing use of Vangelis' familiar score stirs genuine emotion in a way that only great sporting moments can achieve. Chariots of Fire was booked into the Gielgud before the run at Hampstead even started. I'm not sure how it will transpose to a traditional West End theatre but I am very glad that I saw it in the space that it was created for. - David Baxter
14 Jun 12
This is a completely functional play. It's function is to demonstrate a triumph-of-the-spirit and be rousing in Olympics year, and it does indeed do that. It stages the athletics very neatly in the round, with "the stadium" both inside and outside the round so that lots of exciting running (in slow motion and real time also) can be done, brilliantly choreographed, utilising the primitive power of Vangelis' splendiferous musical score. One athlete runs for Christianity, the other runs against his Jewishness, and both show grit. I really am quite despairing about this description as it seems so rote. And like Leni Riefenstahl's original Triumph of the Spirit, the craft and acting are such that it works on your emotions and you become aroused. Afterwards, you may not be sure that you wanted it to work on you quite so well, as it is no more than a Rocky clone. It fits in with Olympics Year in that it will get you worked up with it's sound and fury, but ultimately may signify little. Special credit to James McCardle as Harold Abrahams who manages to make the piece feel substantial even when it isn't. So why do I give it 4 stars? Because when I was watching it, I DID feel roused and emotional. So like I said, it does what it says on the tin. - steveatplays
13 Jun 12
Full marks to the production - the design was good and the acting of the two leads especially impressive. But the story of Abrahams and Liddell is pretty thin, with little real conflict, and worked on the screen thanks to a pacy script, sumptuous visuals and the Vangelis soundtrack. Theatre needs more depth and emotion than is on display here - about half of the first half felt like scene-setting. A high DCF for me, I'm afraid - Don't Care Factor. - ECD
08 Jun 12
I've just returned from a wonderful night out - and felt the hairs rise on the back of my neck as the runners swooshed past. I canlt wait to see how it settles down at the Gielgud - but O really hope its going to be there for a long run. It really is a world class theatrical experience. - Martin
07 Jun 12
I found this quite disappointing, given the personnel involved. Too many characters thinly treated, too many scenes, too much padding (all the singing felt completely extraneous). Nicholas Woodeson completely wasted. Not focused enough on the dramatic action for any real emotional payback to emerge. Really, if you're just going to produce a pallid replica of the film, why bother? - DW
