Book: Neil Gaiman
Adaptor: Joel Horwood
Director: Katy Rudd
Since having premiered at the Dorfman Theatre, London on the 11th December 2019, this breath-taking production only seems to have gained traction. There’s no need to speculate on how and why, it is more than obvious; so clear, in fact, that even the least discerning of theatre goers couldn’t help to find themselves spellbound (pun absolutely intended). It is a piece of theatre that serves as a mirror to the current world we live in – a world so full of challenge, heartbreak, unavoidable obstacles and anger. Yet having been peppered with the perfect quantity of bravery, friendship and unwavering love, the audience can’t help but leave the theatre feeling reassured.
Gaiman’s fantasy novel, The Ocean at the End of the Lane, not unlike his other novels, tells the tale of a young Boy who stumbles upon a magical other-world. A place where three Hempstock women have been for longer than we could fathom, wholly immersed in a knowing that goes beyond our comprehension – ‘snipping and stitching’ things too painful to bear from our memories. When the ‘flea’, a thing not as it sounds nor as it appears, opens a wormhole into this world the most ungodly chaos ensues. It falls to Lettie Hempstock (Millie Hikasa) to save the day.
In typical National Theatre fashion this production offers something more. It is not just theatre, it is wholly immersive – a waking-dream so to speak. The creative team have been so purposeful and deliberate in their portrayal of a child’s imagination that the boundaries between ‘us’ and them become blurred. The audience are palpably unsettled when illuminated doors multiply rapidly, when monsters lurk menacingly and crawl out of the woodwork and when Ursula (Charlie Brooks) invades the Boy’s home. The puppetry created by Olivier Award Winner, Samuel Wyer, is outstanding. To describe his creations would only serve to ruin the surprise, and what a horrifying surprise it is. Equally astonishing was the use of set (Fly Davis) and prop to facilitate the fantastical elements of the show.
This production is a piece of physical theatre at it’s finest. Steven Hogget’s masterful direction facilitates some of the most astonishing acting and seamless movement in theatrical history. For those readers who have seen, appreciated and enjoyed his work in The Curious Incident of the Dog in the Night-Time, you’re in for a real treat. As for Paule Constable’s sound and Ian Dickinson’s lighting, there are few words – simply, hold tight.
The cast are equally talented and, rather refreshingly, it is difficult for the audience to identify one, single noteworthy performance. All actors have become their characters and at no point did the illusion cease to be maintained. If someone in the audience had to champion one acting performance over all others, it would be nearly impossible. But, if forced and placed under extreme duress, Finty Williams as Old Mrs Hempstock would prove to be a suitable choice. Her execution was phenomenal, flawless actually.
This is a production that will leave you revelling in its majesty for years to come. If you’re a regular theatre-goer, go. If you’re not, then make sure that this is the one exception to your rule – book now, without delay.
Runs Until: Saturday 25 February 2023
