THE UNLIKELY PILGRIMAGE OF HAROLD FRY

Theatre Royal Haymarket

★★★★★

“balances spectacle with subtlety, and resonates with emotional depth”

The chances we miss often haunt us hardest. ‘The Unlikely Pilgrimage of Harold Fry’ is a tender, heartbreaking, profoundly human new musical offering new chances for those brave enough to take them.

Weighed down by years of regret, Harold Fry learns an old friend is dying. Though initially hesitant, Harold realises there may be time to put one thing right. So begins an unexpected journey, rekindling the joys of living on the way. But can he reach her in time – and what truths await if he does?

Rachel Joyce’s ‘The Unlikely Pilgrimage of Harold Fry’, adapted with Peter Darling and Katy Rudd, with dramaturgy by Nick Sidi, is a profound exploration of pain, forgiveness and renewal. A strikingly honesty portrait of self made prisons, it creates and unravels Harold’s uneasy mythology with impressive insight. Yet for all its gravity, it glows with warmth and humour. The writing, rich in subtext, excels at showing rather than telling – though later exchanges feel less nuanced, such as Maureen’s sudden absolution from a stranger and Kate’s unlikely departure from the pilgrimage. However, Harold and Maureen’s final scene restores the play’s understated humanity, closing with an authentic and unforgettable resonance.

Katy Rudd’s award winning direction, with Jamie Manton and Nicky Allpress, evolves with Harold. Early Brechtian elements – deconstructed set, ever-present ensemble, freezeframes – evoke a fractured existence, while later scenes bring realism and new life. The Balladeer’s shapeshifting nature is seeded with care, haunting Harold before vanishing at key moments. Chris Fisher’s illusions are brilliantly unsettling, while Timo Tatzber’s puppeteering is irresistibly endearing. Overall, the production balances spectacle with subtlety, and resonates with emotional depth.

With music and lyrics by Passenger, and additional contributions from Jeremy Holland Smith and Phil Bateman, the score is delicious, weaving country, smooth jazz, and pop into a cohesive folk sound. The careful construction builds and eases tension beautifully, with surprise chords underscoring emotional breakthroughs. Beautiful harmonies abound, including with the dog! The orchestra brings the score vividly to life under the baton of musical director Chris Poon and deputy Caitlin Morgan.

Tom Jackson Greaves’ choreography, assisted by Nell Martin and Edwin Ray, cleverly contrasts stillness with full blooded ensemble movement, weaving a rich mix of styles that celebrate the many paths to joy and fulfilment.

Samuel Wyer’s design, with Joseph Bisat Marshall (associate set and costume), Paule Constable (lighting), and Ash J Woodward (video), is cohesive, polished, and rich in symbolism. Circles recur from the proscenium arch to the performance space to the barrels, evoking cycles of change and unity. The barrels themselves carry additional meaning, while the circular arch becomes the frame through which we view Harold’s life. The tonal palette reveals stark differences, with Harold’s muted greys giving way to vivid sunsets, while Maureen stays stuck. Blake’s influence in the intense watercolour skies is clear. The only slight drawback is the sound design by Ian Dickinson and Gareth Tucker for Autograph, with voices occasionally struggling against orchestral swells. Still, the overall design grounds and drives the narrative with striking beauty.

The cast is outstanding. Mark Addy nails Harold Fry’s mix of bumbling charm and sincerity with no nonsense wit and warm vocals. Jenna Russell gives a beautifully nuanced Maureen Fry, compressing decades of resentment into a faded figure with crystalline vocals. Noah Mullins makes a dazzling West End debut as the commandingly mercurial Balladeer, delivering stunning vocals. The whole ensemble shines with vivid characterisations, powerful singing, and Tatzber’s enchanting puppetry.

Catch ‘The Unlikely Pilgrimage of Harold Fry’ while you can – this is a journey you won’t want to miss.

THE UNLIKELY PILGRIMAGE OF HAROLD FRY

Theatre Royal Haymarket

Reviewed on 10th February 2026

by Hannah Bothelton

Photography by Tristram Kenton

THE UNLIKELY

★★★★★

“witty, visually inventive, and profoundly charming”

There is a specific kind of alchemy that happens at the Little Angel Theatre, and this production of the I Want My Hat Back Trilogy is perhaps its purest form. Directed by Ian Nicholson with design by Sam Wilde, this adaptation of Jon Klassen’s beloved picture books is a triumphant celebration of imagination, sustainability, and the sheer joy of storytelling.

From the moment the audience enters, the fourth wall is not just broken; it is warmly dismantled by a spread of autumn leaves that transforms the stage. We are met with a greeting so inviting that it immediately dispels the stiffness often associated with theatre.

The genius of this production lies in its visual language. Sam Wilde’s design creates a universe entirely out of recycled cardboard, invoking a style of Object Theatre where the material itself carries meaning. By retaining the raw texture, the production invites the audience to engage in “active imagining.” The versatility of the material is astonishing: eyes change to convey suspicion, and scale fluctuates for comedic effect. When the Bear appears, his deadpan expression—achieved through simple manipulation—is a lesson in visual literacy, proving that a simple box can become a living, breathing character.

The production is anchored by its two performers, Michael Larcombe and Paige Leavy. To borrow a sentiment often expressed in ensemble theatre, these two alone hold up a rich stage, and their performance is exquisite. Larcombe and Leavy are not just puppeteers; they are vocal chameleons. Their transition between voices—from the grumbling, confused Bear to the fast-talking, humorous mumbling of the giant fish—is seamless. They navigate the space with a physical precision that keeps the energy high without ever feeling chaotic. Their ability to switch between narration and character embodiment creates a layered storytelling experience that grips both children and adults.

The show masterfully blends participation with spectacle. We are invited to “make a fish at home,” but even those who arrive empty-handed are swept up in a delightful “fish hand dance,” turning the audience into an extension of the set. And the pacing is impeccable. The comedic tension of the Bear looking for his hat balances beautifully with the quieter, more philosophical moments. The segment involving the two tortoises finding a hat features a sunset sequence that is genuinely moving—a testament to how theatrical lighting and sound can imbue simple objects with profound emotional weight.

The production concludes with a heartwarming introduction where the creative team and cast are named on paperboard—a meta-theatrical nod that humanizes the performers and establishes a communal atmosphere.

For children under six, this is more than just a show; it is a foundational course in theatre appreciation. It teaches them to read theatrical signs, to understand character through voice and movement, and to believe in the magic of a handmade world.

I Want My Hat Back Trilogy is witty, visually inventive, and profoundly charming. It reminds us that you don’t need a million-pound budget to create magic—just some cardboard, two gifted actors, and a hat. It is a masterclass in cardboard magic: the perfect introduction to theatre for kids.

Tag Archives: 5STAR26

THE UNLIKELY PILGRIMAGE OF HAROLD FRY

★★★★★

Theatre Royal Haymarket

THE UNLIKELY PILGRIMAGE OF HAROLD FRY

Theatre Royal Haymarket

★★★★★

“balances spectacle with subtlety, and resonates with emotional depth”