During the 1920s, the bad lads of gangland Sheffield earned it the reputation as ‘Little Chicago’, and so it was appropriate that in November 1978 the Crucible Theatre staged the British premiere of Chicago, the John Kander, Fred Ebb and Bob Fosse musical.
First staged on Broadway in 1975, Chicago had been optioned by a London producer for a year, but Peter James, the Crucible’s artistic director, learned that it had lapsed and wrote to Kander and Ebb’s agent asking whether Sheffield could produce it.
“It was a hundred per cent diplomacy and a 10 per cent royalty.”
The approach was successful, and it opened with hardware, costumes, and scenery costing £13,000, and with nineteen boys and girls, the total estimated expenditure was £45,000.
Ben Cross was cast as Billy Flynn, the role gaining him recognition, and landing him the role of British athlete Harold Abrahams in 1981’s Chariots of Fire, before going on to be a stalwart of TV and film.
Antonia Ellis, a West End regular, played Roxie Hart, and went on to appear on Broadway. Following an accident, where she was hit by a car, she sustained leg injuries and abandoned her career.
Perhaps the most interesting story is that of Jenny Logan as Velma Kelly. She continued to work on stage and screen but became famous as the star of the Shake n’ Vac advert between 1980 and 1986 – “Do the Shake n’ Vac and put the freshness back.”
By opening night, nine West-End managements were vying for a transfer and it launched at London’s Cambridge Theatre in April 1979.
The Crucible production was billed as the European premiere, overlooking the fact it had already been staged at the Malmo City Theatre in Sweden in 1977.
However, it was the first chance that the British public got to see Chicago, the musical going on to become an unwavering favourite and subject of the Renée Zellweger, Catherine Zeta-Jones, and Richard Gere movie in 2002.
One day, in 1926, a lady walked through newly opened Graves Park and came upon an old quarry within Cobnar Wood. Well-known in musical circles, she was well-versed with acoustics and approached Sheffield Corporation with an idea.
This had once been Norton Rifle Range and formed part of land gifted by J.G. Graves to the city. In February 1927, undergrowth was cleared, and the ground levelled, in preparation for an open-air theatre.
“Around the natural cavity, at one side of which there is a wall of stone – part of the original quarry – the ground rises steeply and is covered with trees and bushes. On the left stands part of the Cobnar Wood, and it does not need much imagination to visualise the beauty of the scene on a fine summer evening. On the side of the hill accommodation will also be made for thousands of people to stand or sit.
“The theatre will not be confined to one class of entertainment. There could be music of all kinds – orchestral music, chamber music, bands, Pierrots, and others, chosen by the Parks Committee.”
A platform was erected under the quarry wall with seating arranged facing the stage.
The open-air theatre opened on June 16th, 1927, when a crowd of 3,000 people attended a concert in the presence of the Lord Mayor, who happened to be J.G. Graves.
“The beautiful natural amphitheatre became a vast arena of song when the first municipal open-air community singing concert was held. The basin, with its grassy slopes and fringe of trees, is admirably suited for events of this kind. The singing was led by the Sheffield Orpheus Male Voice Choir, conducted by Mr T. Ratcliffe, and although the audience was a little shy at first, they soon joined in the choruses lustily, and sang with real heartiness songs like Love’s Old Sweet Song, On Ilkla Moor Baht At and Pack Up Your Troubles. Four hundred chairs were occupied, and a good crowd behind the ropes.”
The success of this first evening led to further concerts by the Melody Minstrels and Motley Entertainers, and for the next ten years the public were treated to regular summer entertainment in the old quarry.
Despite its success, Sheffield Corporation brought an end to the concerts in 1937, the victim of unforeseen circumstances.
The quarry was to be no longer used because of midges. It had attempted several solutions including spraying the quarry before each performance and at the interval when attendants walked around with spray pumps.
As a last resort an outside expert had suggested spraying the surrounding woods, quarry walls and the ground with disinfectant and insect killer.
All attempts failed and the midges affected attendances causing one council official to say, “The day would come when performers would be singing to an audience of gnats.”
Alas, the open-air theatre was abandoned, and future concerts held in the Deer Park. Today, there is little evidence of its exciting past, the area overgrown, and only the old sandstone quarry walls providing a clue of its location.
It is hard to believe that next year, the Crucible Theatre, Sheffield’s architectural upstart, will be fifty-years-old. It has been a long journey, with plenty of ups and downs, but survives with its reputation intact.
The Crucible Theatre was built as a replacement for the Sheffield Playhouse on Townhead Street, home to the Sheffield Repertory Company, whose origins went back to 1919.
Colin George was appointed Artistic Director of Sheffield Playhouse in 1965, and did not grasp that its hand-to-mouth existence was going to be turned upside down.
“One sunny spring day in 1966, I was one of a deputation from the Playhouse Theatre who went to the Town Hall to ask the Council for a subsidy to run the theatre. We were ushered into the main Council Chamber, empty but for a formidable northern lady seated at one end, on her Lord Mayor’s throne – Alderman Grace Tebbutt. We sat in front of her, naughty schoolchildren in front of the headmistress. She looked at us for a minute and then dropped her thunderbolt. ‘Nah then. Where do you want your new theatre?’ To those of us working at the Playhouse it was quite unexpected. ‘You probably want an island site,’ she continued forcefully, and with a wave of her hand effortlessly destroyed Norfolk Street.”
A new Sheffield Theatre Trust and Building Committee was created, an architect was appointed, and plans were made to create a new conventional theatre with its proscenium arch and using a large forestage.
Had these plans progressed, the history of Sheffield theatre would have been quite different. The cat-amongst-the-pigeons was Sir William Tyrone Guthrie (1900-1971), an English director instrumental in founding the Stratford Festival theatre in Ontario and the Guthrie Theater in Minneapolis, Minnesota.
In October 1967, Guthrie arrived in Sheffield to talk about theatre. Hearing of plans, he spoke to the Trust and excited them enough to send Colin George and David Brayshaw, a local solicitor appointed as administrative director, to visit America to see and report on thrust or promontory stages.
They spent ten days in Minneapolis, Stratford, Ontario, and New York, and reported back that Sheffield should have a thrust stage. The Trust agreed, and the cries of derision began.
Denounced by theatrical knight Bernard Miles (“The theatre is a freak. It will be blacklisted by all reputable dramatists”), by councillors at public meetings (“I’m not going to pay to see Hamlet’s backside”), and in the media, the modernists won the day.
There was also the problem of giving the new theatre a name. The Star ran a competition and ‘The Adelphi’ won, named after the famous hotel and public house that had stood on the site, but in the end, Hilary Young, who worked at the Playhouse, suggested the Crucible, a nod to Sheffield’s industrial past.
The Crucible was designed by Renton Howard Wood Associates, the project architects being Nicholas Thompson and Robin Beynon.
However, we must not forget the part played by Tanya Moiseiwitsch (1914-2003), regarded as one of the foremost British designers in twentieth century theatre, an innovative designer of costumes, sets and stages, and responsible for the look of over two hundred productions in Britain, Canada and the United States.
Moiseiwitsch had worked closely with Sir Tyrone Guthrie and was the principal designer at the Guthrie Theater in Minneapolis from 1963–1966, and again designed a thrust stage like that she had designed (and in 1962 modified) in Stratford, Ontario.
Returning to England in the 1970s, she designed plays both for the National Theatre and the West End, but her last legacy was designing the stage for the Crucible Theatre. The whole of the stage (18ft wide-28ft deep) was mounted on steel stanchions and beams provided flexibility to adapt it for different productions.
Construction started in October 1969, the work undertaken by Gleesons, and was completed in November 1971. It cost almost £1 million to build, £650,000 contributed by Sheffield City Council and the Arts Council, and £260,000 raised by the New Sheffield Theatre Trust as the public contribution to the theatre.
In Spring 1971, it was decided that Colin George would direct Peer Gynt to open the Crucible, followed by Sir Tyrone Guthrie’s Aeschylus Trilogy, The House of Atreus. However, in July news came through that Guthrie had died, and the opening schedule was hastily rearranged.
The Crucible Theatre, principally made of reinforced concrete, opened on November 9, 1971, with Fanfare, a production devised in three parts. The first was ‘Children’s Theatre’ in which 34 children were involved. The centre piece was Ian McKellen playing the Old Actor in Chekhov’s Swan Song and the last part was rumbustious Music Hall.
And so, the futuristic theatre with its twinkly ceiling lights, orange auditorium seats (provided by Race Furniture of London), and gaudy foyer carpets, started its journey.
Once deemed a ‘white elephant’ due to low audiences, it steadily gained a reputation, along with the Lyceum Theatre, as the best production theatre outside London. With far more full houses than not, the long list of success is remarkable – The Stirrings in Sheffield on a Saturday Night, Chicago (the European premiere, no less), The Wiz (British premiere), Funny Girl, Brassed Off, Fiddler on the Roof, Hamlet, Othello, Everybody’s Talking About Jamie… the list goes on, and it was once called the ‘National Theatre of the North’. And, of course, there is the snooker.
The Crucible Theatre was Grade II listed in 2007, considered of national importance in the history of theatre design, ahead of a £15 million refurbishment that included a new roof and the Adelphi Room extension to the front. Ironically, during the construction of the extension the cellars to the old Adelphi Hotel were discovered and some of its foundations used to support the new build.
Colin George left the Crucible Theatre in 1974, but returned to appear in a production of Othello with Dominic West and Clarke Peters in 2011. His ambition to write the history of the theatre was never fulfilled, but as one newspaper reported on his death in 2016, his legacy stands in Tudor Square.