Review: THE OCEAN AT THE END OF THE LANE, Noël Coward Theatre

A sell-out at The National, then again at the Duke of York’s, Joel Horwood’s acclaimed stage adaptation of The Ocean at the End of the Lane now triumphantly returns to the West End at the Noël Coward Theatre, for seven weeks only.

Based on Neil Gaiman’s short 2013 novel, this seemingly simple story is of a man who revisits his childhood where he discovers friendship for the first time and copes with the aftermath of his mother’s death. When his father takes in a terrifying lodger, a nightmarish fantasy world envelopes him as he struggles to distinguish between illusion and reality.

What the production taps into so astutely is the potential power of a child’s imagination; enchanted forests, nightmarish transformations and a village pond that becomes the ocean of the title of the story. The whole production can be seen as an astute study of the psychological defence mechanisms children employ to escape possible abuse and definite grief and loneliness.

Keir Ogilvy is hugely energetic as the unnamed Boy, full of uncertainty, grief and in need of friendship and support. Millie Hikasa is totally charming as ethereal friend Lettie, she exudes enthusiasm and empathy as she takes Boy under her wing. Finty Williams is very likable and also very funny as her grandmother Old Mrs Hempstock.

Charlie Brooks is truly frightening as new tenant Ursula. She is a smiling assassin, dressed in pink, with a halo of blonde curls. The veneer of serenity is sharply contrasted by her cruelty to Boy, as she stakes her claim to his family home.  

Trevor Fox plays the unnamed man; despite a moment of possible violence, he becomes a hugely sympathetic figure as Dad, burning toast and juggling squabbling children, while struggling too much to cope with his grief to notice the detrimental effect on his son. As Sis, Laurie Ogden beautifully captures the petulance of a younger sibling, masking vulnerability and fear.

What is so clever is that Katy Rudd’s fantastical depiction gives audience a choice as to how to interpret this story. This world floats between make-believe and reality, raising probing questions of the reliability of memories, particularly from childhood. Is what we are seeing what really happened, or is it a fiction created by a young, distraught mind on the cusp of adolescence? When we look back at our childhood as an adult, how is our perspective framed by our experiences?

Gaiman’s beautiful story is brought vividly to life through Fly Davis’ spookily realised set, which works perfectly with Paule Constable’s exceptionally atmospheric lighting and Jherek Bischoff’s pulsating and often haunting score.

Steven Hoggett’s movement is often balletic; the ensemble moving props around with thoughtful motion that is rarely so well considered. Sam Wyer’s incredible puppets (directed by Finn Caldwell), range from gigantic, horrifying monsters to a stunning scene where Boy and Lettie dive into the ocean.

A feast for the mind and the senses, this is one West End revival that really is a must-see.

The Ocean at the End of the Lane is at the Noël Coward Theatre until 25 November

Photo Credits: Brinkhoff-Moegenburg