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.