A weekday matinee is a rarity at Sheffield Theatres, but with Dizzy gracing the Playhouse Stage, and with it an impressive number of school groups and young people, it was an irregular experience walking into the Crucible building. Combined with the club-like music on entry, Dizzy is an unusual amalgamation of performance, body language and effective tech that gives audiences a taste of the life of a street artist, and the bond they have with their fellow creators.
With people packing the Playhouse to the rafters, the onus was on the cast and crew to deliver a great performance that would leave headteachers everywhere half-pleased that they allowed their students and staff to miss a few hours of learning. And Dizzy is not only a great show, but a profound one, encouraging all of its attendees to consider their own relationships, and the strengths which they can impart.
Both Brendan Barclay as Stax and Sera Mustafa’s Qamar give impressive performances as their respective characters, showing a good transition as the story begins and their chemistry builds. Watching them bond over a shared love for the late Dizzy, voiced by Reda Elazouar, whilst not being afraid to challenge each other’s preconceptions gives the two a testing yet encouraging relationship that builds throughout the show, bringing the audience along with them. Their use of verbal and physical comedy takes Dizzy from good to great, with a fantastic number of genuinely comical moments in this deep and emotional tale.
With minimal set, the focus is squarely on our two performers and the environment around them, with striking use of colour and impressive lighting design from Jess Brigham crafting the performers emotions around them and weaving this interesting visualisation of their very raw emotions. It is complemented well with Qamar’s bright costume choices, although Stax’s bright red hoodie is an unusual choice given his desire to hide and blend in. The use of choreography is often hit-or-miss however, with powerful moments such as the physical distance between performers arguing being combined with some of the more interpretive movements lost on me on we transition from ‘reality’ to…Qamar’s inner monologue…I think?
The production is distinct for its appeal to younger audiences, with an immense number of school groups in attendance, in what is a great sight for the theatrical industry. This production has a fantastic team behind it, both on-stage and behind the scenes, and this shines through in many aspects of the production, most notably in comedy, lighting and characterisation of the two troubled characters bonding with each other after their joint loss. Elements can be improved, and this production is by no means perfect, but Dizzy is, and I quote, a “mad story innit”. With the tightening up and reimagining of some creative and directorial choices, Dizzy would be a remarkable production. For any teaching professionals considering taking their cohorts of pupils to this play, it is certainly worth its while.
Rating: ★★★★☆
Dizzy is playing at the Tanya Moiseiwitsch Playhouse until October 12th
