The Unlikely Pilgrimage of Harold Fry - Review

Theatre Royal Haymarket, London

***

Music & lyrics by Passenger

Book by Rachel Joyce

Adaption co-created by Rachel Joyce, Peter Darling & Katy Rudd

Directed by Rachel Joyce

Mark Addy, Jenna Russell & company

There’s a flicker of a good yarn at the heart of The Unlikely Pilgrimage of Harold Fry. Rachel Joyce’s story sees the titular Fry walk 500 miles across England, fleeing the baggage of a grief-laden marriage, to visit the bedside of a dying friend.

Not only are there the makings of a good story, the show also boasts standout excellence from Mark Addy as Fry and Jenna Russell as his wife Maureen. Both leading characters are deeply damaged and it is a credit to both performers that they deliver performances of a tender complex fragility.

It’s just a shame that such excellence is smothered in an evening of mediocre musicality, wrapped up in a plot that lurches from one shallow cliche to the next. Passenger’s lyrics are found to be frequently expositional and witless, while the band of crusties who follow Fry on his pilgrimage appear to be little more than a bunch of lazily drawn two-dimensionals, straight out of central casting. 

The musical’s (rare) highlights both fall in act one with a classy tap-routine in From The Rooftops, and a moderately amusing set of lyrics in Out of Luck. 

Those who love Rachel Joyce’s book will probably enjoy the show. Otherwise The Proclaimers’ 1988 single I’m Gonna Be (500 Miles) offers a similarly themed story, and in under four minutes.

Runs until 18th April

Photo credit: Tristram Kenton

Ballet Shoes - Review

National Theatre, London

****

Written by Noel Streatfeild

In a new version by Kendall Feaver

Daisy Sequerra and Justin Salinger

Noel Streatfeild’s Ballet Shoes is given an enchanting makeover by the National Theatre. In Kendall Feaver’s adaptation, Streatfeild’s tale of the three orphaned/foundling Fossil sisters, who are fused into a family by Malcolm an eccentric but gifted paeleontologjst who places them in the care of his adopted great niece Sylvia becomes a vivid drama.

The themes of self-belief and familial love run strong through the classic yarn and under Katy Rudd’s direction and Frankie Bradshaw’s impressive designs that fill the Olivier stage, the play makes for classy modern theatre.

On the night of this review understudy Katie Singh stepped effortlessly into the role of Sylvia. Playing (Great Uncle) Malcolm together with a host of other inspirational roles throughout the evening is Justin Salinger - who provides just enough quirky unconventionality to hint at something divine in his on stage presence.

The show however belongs to the three performers playing the adolescent sisters Yanexi Enriquez, Grace Saif and Daisy Sequerra, with all three carrying the story magnificently. Their supporting company are equally strong.

In a show that has dance in its veins, Ellen Kane’s choreography displays her usual creative excellence.

The play goes at a pace through the novel, at times perhaps for younger audience members, a little too fast in show that lasts more than two and a half hours. But this is a thoughtful family show, beautifully acted and imaginatively staged.

Runs until 22nd February

Photo credit: Manuel Harlan

The Ocean At The End Of The Lane - Review

Noel Coward Theatre, London

****

Based on the book by Neil Gaiman

Adapted by Joel Horwood

Directed by Katy Rudd

Millie Hikasa and Keir Ogilvy

A wonderful exploration of childhood, imagination and memory, the National Theatre production of Neil Gaiman’s The Ocean At The End Of The Lane returns from a UK tour to take up a brief residence at the Noel Coward Theatre. 

Making a remarkable West End debut, Keir Ogilvy plays the 12 year-old Boy growing up in England’s rural Sussex. He has struggled to make friends, his mother is no longer around and his family home is shared with Dad (Trevor Fox) and Sis (Laurie Ogden). It’s a neat touch denying these roles any individual names for in that depersonalisation they become us all and as Boy explores his fantasies and nightmares along with complex family relationships, there are moments (in the sometimes lengthy 2½ hours) that will resonate across the audience.

The fantasy of the story is brought to life beautifully on stage by the characters that the Boy encounters in his youth. Millie Hikasa is Lettie, Boy’s magical pal who Is not quite what she seems and who guides and protects him on his journey of discovery. There is charming work from Finty Williams as Lettie’s grandmother and the inspired creation of Ursula, played by Charlie Brooks, who is the nemesis of all things good and the villain of the piece who also meddles with some psycho-sexual manipulation of the Boy (nothing too provocative mind you) that cleverly explores the susceptible curiosity of a child’s mind.

The acting is top-notch throughout, but above all it is the ingenuity of the show’s puppetry, lighting and outstanding physical theatre that gives the evening its breathtaking charm. It is left to a black clad ensemble of four to deliver the production’s heavy lifting and it is the visual beauty of these effects, free of any modern electronic trickery or CGI that give the story an ethereal honesty. What you see is what you get. The illusions are outstanding.

An evening of exciting theatre that will appeal to all adults and kids who can lose themselves in a thrilling story, beautifully told.

Runs until 25th November

Photo credit: Brinkhoff Moegenburg