BWW Reviews: CAMELOT: THE SHINING CITY, Crucible, Sheffield, July 14

Camelot: The Shining City is the latest production from Sheffield Theatres' community group, Sheffield People's Theatre. Each year, the performances by the 150-strong local company grow in scope and ambition. Last year, they tackled the Mystery Plays - what could top that? The answer: a partially open-air theatrical extravaganza, loosely based on Arthurian myth, in collaboration with Slung Low.

The plot of Camelot: The Shining City is one of a contemporary people's movement, led by a young woman named Bear (Tia Bannon). England becomes revolutionised via Bear's re-enactment of the legend of King Arthur - and then the real story begins... This perhaps sounds somewhat more bizarre than it actually is when you watch it. What playwright James Phillips and director Alan Lane bring here is effectively a meditation on politics, resolution, national identity and human nature. In the programme, Phillips discusses his own thoughts on different political, religious and cultural movements globally, such as ISIS, and comments on how many such movements are rooted in a particular conception of past ideologies and values. It is this notion that underpins his philosophy within Camelot, whereby a whole host of English iconography - from the Arthurian legend explicitly referenced, to popular hymns, military rituals and even our love of smart phones - is brought into play throughout the production. Sometimes, the politicised message can feel a little bit laboured and heavy-handed; however, that can be forgiven given the spectacle of the production - open-air theatre with audiences straining to get a view doesn't really lend itself to intimacies and nuance.

The first half-hour or so takes place in the Crucible Theatre itself, after which the company and the audience migrates to Tudor Square outside the theatres and then onto the Peace Gardens for the climax. For the outdoor part, the audience need to wear headphones in order to hear all of the dialogue, some of which is delivered outside and some from within the theatre, making very clever use of the open plan room above the foyer to provide a tableau reminiscent of the mediaeval paintings Bear is so fond of.

Slung Low's trademark is unusual and experimental theatre with a great degree of spectacle and Camelot does not disappoint on that front. Range Rovers, incendiaries and many other devices, which I won't spoil for you, are used to great effect throughout the outdoor sections. There is even a play within the play as the younger performers in the cast re-enact some of the activities we have already seen, and those we are yet to see, as if they were performing mystery plays based on the mythology of Bear's reign. This is a clever conceit that not only makes use of the cast, it also helps the audience where they may have potentially missed any of the action or not been able to see it, as well as making pertinent comments about how mythologies spread within cultures and through generations.

The two outdoor venues utilised in the play are the two biggest public areas in the centre of Sheffield, meaning passers-by on their way to and from the pub or bus stops were brought into the audience, albeit without the headphones. Many passers-by stopped to watch the spectacle, which was impressive not only by the use of technology and special effects, but by the huge presence of the People's Theatre who were often immersed within the audience throughout the outdoor sections of the play, helping the audience and the passers-by feel part of it.

There were a small number of professional actors in the lead roles (two of which are slung low regulars). As Bear, Tia Bannon makes her professional stage debut and is incredibly assured. Bannon has a real energy and also manages to portray the swagger, cockiness and confidence needed for the character, as well as the more vulnerable sides that become revealed. She is in her final year at RADA - expect big things for her in the future. I suspect TV and film in particular are going to love her. Several of the key roles were filled by the amateur members of the People's Theatre. In particular, Sam Guest, whose day job is in admin, really shone as a charismatic Galahad (I had assumed he was a professional until I read the programme) and People's Theatre regular, Michaela Caine (a drama student in Manchester) does really well as Rachel, who represents the heart of the people living in Bear's England.

This is a very ambitious and incredibly well-choreographed and designed production, which makes good use of the large cast and the city surroundings. Do be warned, however, if you have difficulties with standing, that there are large periods in which the audience is outside. You might be advised to either bring support if you need it, or to take a seat on the benches in Tudor Square and the Peace Gardens - both sections are quite long. You are also advised to dress for the weather, as the production is going to take place whatever the circumstances-and it's a very long time to be outside without a coat or brolly if it's raining!

Six years ago, I attended a press reception at which incoming artistic director Daniel Evans set out his vision for Sheffield Theatres. At that event, he talked about both making Sheffield, and regional theatre, more visible nationally and about integrating theatre more into the community. Indeed, one of the things he particularly wanted to do was bring theatre performances and activities outside of the venues themselves. With major productions such as The Full Monty, My Fair Lady and Democracy, he has certainly achieved the former and Camelot is probably the biggest realisation to date of the latter. It's somewhat fitting that during a production that's all about the power of vision, leadership and ideas, in terms of both form and content, Evans was stood at the back watching his own vision from that inaugral reception becoming a reality.

Whilst Camelot will not be to everyone's taste and some may find it a little bit heavy-handed, or even gimmicky, it is an exciting and innovative piece of theatre-particularly given its cast of amateurs who have fitted in rehearsals and performances around their regular jobs and studies. It's a testament to collaboration and to the power people have when they come together - which, of course, is one of the themes of the play.

Camelot: The Shining City is at the Crucible Theatre, Sheffield until 18 July.

To post a comment, you must register and login.