THEATRE REVIEW: ‘The Ocean at the End of the Lane’ (New Wimbledon Theatre)

THEATRE REVIEW: ‘The Ocean at the End of the Lane’ (New Wimbledon Theatre)

Adapted by Joel Horwood from the novel by Neil Gaiman.

 

 

  

 Introduction

I have been a fan of Neil Gaiman since the first time I saw the BBC dramatisation of ‘Neverwhere’, with my fandom growing when I saw the film of ‘Stardust’. Since then, I’ve also enjoyed the film of ‘Coraline’ and the TV version of ‘Good Omens’. He’s also written two TV ‘Doctor Who’ stories  (‘The Doctor’s Wife’ and ‘Nightmare in Silver’) and a Sherlock Holmes short story, ‘A Study in Emerald’ set in the universe of H.P. Lovecraft. For some reason, I missed the adaptation of ‘TOatEotL’ when it appeared at the National Theatre in a ‘theatre in the round’ performance in 2019/2020, or even its transfer to the proscenium arch of the Duke of York’s Theatre in 2021/2022, but when a tour was announced, visiting a theatre a ten-minute bus ride from my main place of work, a ticket was booked. I own the book of ‘TOatEotL’, but am ashamed that I have not got round to reading it.

 

Plot

Returning to his childhood home, a man finds himself standing beside the pond of the old Sussex farmhouse where he used to play. He's transported to his 12th birthday when his remarkable friend Lettie claimed it wasn't a pond, but an ocean–a place where everything is possible. Plunged into a magical world, their survival depends on their ability to reckon with ancient forces that threaten to destroy everything around them. 

 

Review

The play is described as ‘magical realism’ (as is much of Gaiman’s work) and several reviews displayed outside the theatre, described it as ‘theatrical magic’. I would whole-heartedly agree with this – this is a play to be experienced rather than watched, made up of multiple elements including the musical soundtrack (so integral that they were selling a CD of it in the foyer), lighting, magic tricks, puppetry, performer flying, and a wonderful set which conveyed a wonderful sense of dread when it needed to. The age guidance given was 12+, and given the terrifying nature of some of what was going on stage this was clearly correct. This was an outstanding theatrical event, and I found myself internally shouting at other audience members who were ambling back to their seats at the end of the interval, so keen was I for it to restart.  [I will be amazed if this doesn’t defeat allcomers in my 2023 Awards]

The cast, including Finty Williams (daughter of Michael Williams and Judi Dench) and Charlie Brooks (Janine from ‘Eastenders’), were all amazing, and I find it difficult to single anyone out. The ensemble were also used perfectly to create many of the on-stage effects and over two hours of wonder. 

The tour continues until October 2023, covering almost the whole of the UK in what is described as the National Theatre’s longest ever tour  (see below for link to dates). I cannot recommend this production more highly, go and buy your ticket now !

Rating:     (6/5)

 

 

Link:  Production Website