The Ocean at the End of the Lane
Last night I was lucky enough to be invited attend the opening night press performance of the stage adaptation of Neil Gaiman’s classic: The Ocean at the End of the Lane at the beautiful Theatre Royal Bath.
In case you aren’t familiar with the book, The Ocean at the End of the Lane tells the story of an old man who finds himself standing near the pond close to his childhood home. One moment he is thinking on his life’s memories and the next he is transported to the scene of his twelfth birthday, where he meets his brilliant new friend Lettie. He soon learns that this isn’t just a pond but an opening to an entire fantastical world.
In case you aren’t familiar with the book, The Ocean at the End of the Lane tells the story of an old man who finds himself standing near the pond close to his childhood home. One moment he is thinking on his life’s memories and the next he is transported to the scene of his twelfth birthday, where he meets his brilliant new friend Lettie. He soon learns that this isn’t just a pond but an opening to an entire fantastical world.
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Images by Brinkhoff-Moegenburg
The National Theatre has brought this cherished story to life with their new stage adaptation. Whilst The Ocean at the End of the Lane is obviously a fantasy novel, it includes many relatable themes, such as family and finding oneself, which the National Theatre has brought to the forefront of their production. This is a tale about the past, and about memory, about what we forget and what we carry with us, but it is also an exciting and mysterious adventure story. The play is adapted by Joel Horwood and directed by Katy Rudd. During last night’s show the role of Boy was played by Keir Ogilvy, and this role is alternated between Keir Ogilivy and Daniel Cornish on tour.
Whether it is characterised as magical realism or realistic magic, the play is a phenomenal example of stage magic’s performative storytelling. The creative use of lighting, sound design, choreography, movement, puppetry and illusion weave together to create something truly unique.
Image by Brinkhoff-Moegenburg
The real magic is seen in the mesmerising production value, where the hard work and talent of the cast and crew is impossible to overlook. One of my favourite scenes was when Ursula (played by Charlie Brooks) reveals that she is, in fact, Skarthatch. There is a wonderfully choreographed scene where multiple doors are used to create a series of illusions. These moments kept me on the edge of my seat, and the audience never tired of the onstage trickery.
The whole stage seems to evoke a child’s imagination: full of monsters and enchanted forests. The entire story feels chillingly plausible as well as nightmarish. Shapeshifting creatures take centre stage in Katy Rudd’s production; they are astonishing, but you will have to wait to see them for yourself as I’m not sure I can adequately describe how incredibly haunting and dramatic these scenes are. What I will say is I honestly can’t remember the last time I was startled so much in a theatre seat.
Thanks so much to Theatre Royal Bath and their lovely press team for inviting me along to review the show!
Thanks so much to Theatre Royal Bath and their lovely press team for inviting me along to review the show!
The acclaimed National Theatre production is now playing at Theatre Royal Bath from Tuesday 7th until Saturday 18th March.
Book your tickets here now!