Summer Holiday the Musical – Crucible Theatre, Sheffield

Original Screenplay: Ronald Cass and Peter Myers

Adaptors: Michael Gyngell and Mark Haddigan

Directors: Elizabeth Newman and Ben Occhipinti

The sun is shining and summer is well and truly here in Sheffield which brings a revival of Summer Holiday the Musical. Based on the film of the same name, a group of mechanics and a pop group head a huge road trip across Europe in a bus. Adaptors Michael Gyngell and Mark Haddigan relocate the opening of the musical so the gang set out on their trip from Sheffield, recognising the beauty of the fact that Sheffield plays home to people from all across the country.

This is Elizabeth Newman’s third production as Artistic Director of Sheffield Theatres. Whilst there may not have been a big hit under her tenure yet, she is clearly growing in confidence. Directing alongside Ben Occhipinti, the whole space is used effectively – it feels like a production purpose built for the Crucible. Lesley Hutchinson’s choreography is fun, but the production feels like it’s missing a big choreographed company number. Richard Reeday ensures the music sounds full despite minimal instruments at his disposal – this production is actor-musician and this really works to capture the sense of youthful joy.

Amanda Stoodley’s costumes are fabulously colourful, heightening the feel-good fun factor. The 60’s aesthetic is perfectly captured whilst somehow still feeling fresh. Stoodley’s set design is fairly basic on the other hand. It starts off well – the cafe set looks fantastic – but a few more actual sets would have been nice, making more use of the trap door that isn’t used as much as it could be. It is impressive to see a full size mini and scooter on stage, but it is disappointing that the bus is mainly left to the imagination. Rory Beaton’s lighting design is fantastic, lighting different parts of the auditorium whilst never blinding (or lighting!) the audience. Tom Marshall ensures everything sounds crisp, although at times the vocals could be a little louder.

Arthur Carrington CDG has assembled a company of young talent who are full of joy and youthful energy, many of who will surely have exciting musical theatre careers ahead of them.

Leading the company as Don, the role famously played by Cliff Richard, is George Jones in what appears to be one of his first musicals. Jones brings a great amount of charm to the role and we grow to like him fairly quickly. Fanta Barrie is lovely opposite him as Barbara. She sings nicely, although it seems a shame the score never lets her truly belt up the storm it sounds like she might be capable of. Barrie and Jones have a believable on-stage chemistry, whilst doing their best to show the ups and downs of young love (despite the material not giving them a huge amount of substance to be play with).

Jim Duah is incredibly likeable as Edwin, the guy who likes things to be in perfect order initially. He relaxes more as he falls in love throughout the piece with Matthew James Hinchliffe as a gender-swapped Al. Adding in this queer romance makes the musical feel a little more up to date but never feels forced. Robin Harris gets plenty laughs as Steve and Elliot Mackenzie is charming as Cyril. Mackenzie, Harris, Duah and Jones have a fantastic rapport which is the source of most of the youthful joy on stage.

Nis Raza Hamilton and Trudy Ward complete the pop group Do Re Mi alongside Hinchliffe. The musical numbers they perform together as some of the highlights of the show with great vocals and tight-knit harmonies. They’re clearly having fun performing which means we have fun watching them.

Completing the cast in the only two ‘grown-up’ roles are Jane McCarry as Stella, Barbara’s mother, and Damian Humbley as Jerry, Barbara’s agent. Humbley delivers some excellent comic timing, but for someone of such high musical theatre calibre it’s a shame we never really get to hear him sing. McCarry enjoys chewing up the scenery as the stereotypical showbiz mother who will stop at nothing to get her daughter into the headlines. She is brilliant fun to watch, and works excellently as a double act with Humbley, but she plays it almost too over the top. The young company play their roles and relationships with warmth and sincerity and the panto villainy that comes from McCarry doesn’t quite gel with that.

Summer Holiday the Musical is a feel-good night out at the theatre that starts the summer right. It’s full of colour and gives a talented company of young performers to showcase their talent. It’s not the big hit that Sheffield audiences are hoping Elizabeth Newman will stage soon, but you’ll certainly leave tapping your feet with a smile on your face.

Runs until 18th July 2026, before a run at Blackpool Grand Theatre