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

★★★★

“a warm, playful introduction to theatre for very young audiences”

From the moment the signature theme music swells through the theatre, audiences of every age are gently ushered back into Peppa Pig’s bright, familiar universe. When the much-loved song “Today is the Day” starts up, the tiniest theatregoers practically lift out of their seats, sensing that a full day of play and adventure is about to unfold. The unexpected heart of this new stage outing, however, lies in the introduction of baby Evie — a storyline fans have only just begun to encounter in recent announcements. Seeing it play out live gives the production an immediate emotional charge, as if the young audience has been invited to witness a family milestone from inside the Pig household itself.

Daisy, the show’s human guide, anchors us inside the oversized puppetry world with warmth and clarity. Through her perspective, the children learn what it means to prepare for a new sibling: decorating the house, helping the grown-ups, and sharing in the anticipation. Scenes with Peppa and George preparing baby Evie’s room gently invite children to think about pregnancy, family change, and what it means to welcome someone new. The narrator’s performance is sharply tuned to the cartoon’s vocal style, giving the sense of a television episode brought to life. Music drives the production, with nearly every number built around interactive dance moments — from decorating the house to playing outdoor games — ensuring young viewers seldom sit still for long.

The most inventive sequences come from the show’s playful use of theatre magic. When George cries real water tears, droplets shoot out toward the audience, causing delighted shrieks across the stalls. Later, a glowing nighttime tableau appears as fluorescent ducks, a rising moon, and three enchanted paint buckets emerge from behind a lowered black curtain. Brushes seem to dance and paint on their own, transforming the set in a moment of genuine stagecraft charm.

The second act quietens in tone as baby Evie finally arrives. The entire auditorium lowers its voice to greet the newborn — a surprisingly tender communal moment. A song about Evie learning and growing resonates with parents, especially when the sound of a newborn’s soft cry drifts through the theatre. The finale returns to high energy with a game of musical statues and an appearance from Santa, who, despite resembling a very slim Santa image, delights the children nonetheless.

Where the production falters is in its target age range, the storytelling and interaction level skew strongly toward children aged two to four. For older children, the narrative may feel too simple, closer to an early-years activity session than a full theatrical experience. Meanwhile, for toddlers under two, the long running time can feel demanding.

Overall, this Peppa Pig stage outing delivers exactly what its core audience hopes for: bright colours, gentle humour, familiar songs, and moments of theatrical magic that feel lifted straight from the cartoon. While its age targeting could be clearer, the production succeeds as a warm, playful introduction to theatre for very young audiences — and a charming celebration of Peppa’s ever-expanding family.

Tag Archives: Theatre Royal Haymarket

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”