Summer Holiday at the Sheffield Crucible.
27th June 2026.
There is something delightfully audacious about reviving Summer Holiday in 2026. Based on the beloved 1963 film starring Cliff Richard, the musical follows a group of young mechanics who convert a clapped out bus into a holiday coach and head for continental adventure, collecting unlikely companions, romantic entanglements and plenty of catchy tunes along the way. It is a piece steeped in post-war optimism, a vision of Europe as a playground and freedom as something that can be found with just a packed suitcase and a full tank. The challenge for any modern production is making all that sunshine feel fresh rather than faded (even on one of the hottest June days on record!).
Co-directors Elizabeth Newman and Ben Occhipinti steer Michael Gyngell and Mark Haddigan’s latest stage adaptation like seasoned tour guides who know when to point out the landmarks and when to take the scenic route. The production captures the spirit of a road trip without relying too heavily on cinematic spectacle, instead using theatrical invention and fabulously fluid choreography to suggest a journey that spans countries and cultures. The result feels playful and surprisingly intimate, perfectly suited to the Crucible Theatre’s distinctive space.
George Jones’s Don anchors the trip with a cheeky charm and a mischievous glint that suggests boyish bravado maturing into something gentler. He’s not trying to imitate Cliff Richard (thank goodness!) so much as inhabit a sunny archetype, and that approach to the character pays off. As Barbara, Fanta Barrie supplies the spark: vocally agile, emotionally clear, and gloriously unflappable when the plot heads west for the weekend. Her duet work with Jones is stunning.
The lads’ camaraderie is deftly drawn. Elliot Mackenzie’s Cyril, Jim Duah’s Edwin, and Robin Harris’s Steve let punchlines land as playfully as well‑tossed paper planes. Do Re Mi (the singing sensations that the boys meet along the trip) are nimbly performed by Trudy Ward, Matthew James Hinchcliffe and Nis Raza Hamilton – what an energetic and musically talented bunch they are! The fact that this is an actor-musician piece really brings it to life and makes the music feel a natural part of the action rather than an awkward bolt on.
Elsewhere, Damian Humbley makes bricks without straw as Jerry, delivering knowing humour without ever tipping into caricature. But for me there is one star of the show – Jane McCarry as Stella. McCarry brings sharp comic instincts to every appearance. I think it would be fair to say that she steals the show every time, but today she accidentally fell off the stage during a particularly energetic rendition of ‘The La La Song’ and literally stopped the show! A true pro and a trouper, she ad libbed her way back (with tremendous aplomb) then brought the house down with the rest of the number. Perfection!
Amanda Stoodley’s set is simply wonderful: a bus that is largely left to the imagination but excellent use made of the trap door, a mini and a scooter! Rory Beaton washes it in sherbet skies and nightclub purples, while Tom Marshall’s sound keeps the harmonies glossy without flattening the live edge. Lesley Hutchison’s movement supplies a whirlwind of swivels, hops, and traffic‑stopping tableaux – precision that reads as spontaneity, which is the best kind.
Musically, the production is in safe hands. Under the direction of Richard Reeday, the score bursts with life. Cliff Richard’s catalogue can sometimes feel trapped in a particular era, but songs such as “Summer Holiday”, “Bachelor Boy” and “The Young Ones” emerge here with renewed vitality. Keith Strachan’s orchestrations strike an effective balance between period authenticity and contemporary theatricality, allowing the melodies to do what they do best – soar. All in the capable hands of Music Captain Isaac Savage.
If the plot remains as diaphanous as chiffon on a sunny day, that’s all part of the charm. Newman and Occhipinti understand that the show’s greatest strength lies in its infectious sense of fun, and they deliver it with confidence and craft. As the final number sweeps through the auditorium, I find myself won over by the sheer generosity of the performance. This is a musical that invites us to leave our cynicism at the door, hop aboard and enjoy the ride. Judging by this audience’s reaction, we’re all more than happy to have accepted the invitation.
Summer Holiday plays here at the Sheffield Crucible until 18th July, then heads to the spiritual home of the great British getaway – Blackpool – playing at the Grand Theatre from 29th July-8th August 2026. Catch it while you can!
Photos credit: Manuel Harlan
