In more than a century of heroic Olympic feats and sporting glory, the Paris event of 1924 retains a special sort of sepia-tinted reverence. This was the last games to be directed by co-founder Pierre de Courbertin; the motto Faster, Higher, Stronger was used for the first time; the marathon distance was fixed; and countless feted athletes such as Johnny Weissmuller made an eternal impression on the international sporting scene.
A stylish celebration of one of Edinburgh’s own sons: told with humour and humanity
For Brits, three of those athletes - Douglas Lowe, Harold Abrahams and Eric Liddell - remain imprinted on the national consciousness as a symbol of stamina, determination and personal strength: their gold medal successes even spawning the 1981 film Chariots of Fire.
And so, chiming exquisitely with both the current Paris Olympics and Eric Liddell’s own hometown of Edinburgh, Searchlight Theatre Company bring his extraordinary story to the Fringe in a stylish piece which explores how the famously principled man represented his country at the Olympics: but strictly on his own terms.
We are guided through the story by Tom McKerchar: Liddell’s trainer and friend who was somewhat neglected in the famous film, whilst Abrahams’ trainer Sam Mussabini’s was given more screen time. McKerchar’s blunt manner is delivered with deadpan charm by David Robinson, and we are shown a relationship of deep mutual respect between the two very different men. It was McKerchar who had to think on his feet when Liddell famously declined to run the 100m heats (for which he was the hot favourite) due to their scheduling on a Sunday. And it was McKerchar who masterminded Liddell's last-minute switch to the more tactically-demanding 400m in an attempt to come home with the gold medal they both so desperately craved.
Michael Taylorson plays Liddell with restraint and generosity: assuming a softly-spoken but laser-like demeanour towards both his career ambitions and Christian faith. He creates a good man without becoming too pious; engaging the audience with a friendly ease which suggests the enormously high regard with which Liddell was held in his lifetime, and beyond his premature death. There is strong support too from Simon Rodda as a pushy but patriotic sports journalist; and Rebecca Rogers as Liddell's eventual wife Florence.
The piece jogs along at an agreeable pace, casting fresh light on this well-known story, celebrating one of Edinburgh's own sons: and doing so with humour and humanity.
