Review: The Unlikely Pilgrimage of Harold Fry (Theatre Royal Haymarket)

Review by Daz Gale

⭐️⭐️⭐⭐⭐

One of the most talked-about musicals last year was The Unlikely Pilgrimage of Harold Fry, selling out its entire world premiere run in Chichester. Nearly eight months later, it has finally arrived in the West End. If you’re wondering why it took so long, well, it probably walked from one theatre to another. Having missed it last year and kicked myself ever since, I had no hesitation in making the pilgrimage to Theatre Royal Haymarket to witness what I believed to be a strong contender for musical of the year. Would it live up to this impossibly high standard, or would I find it to be as tired as poor Harold Fry’s feet?

Based on Rachel Joyce’s 2012 novel of the same name, The Unlikely Pilgrimage of Harold Fry received acclaim and a legion of fans upon its release, being adapted into a film in 2023, before the premiere musical adaptation last year. The show tells the story of Harold Fry, an ordinary man who is about to embark on an extraordinary journey. After receiving a letter from an old friend, Harold decides to set off to deliver his reply in person - and so his unlikely pilgrimage begins, taking him from Devon to Berwick-upon-Tweed on foot. Along the way, he meets some weird and wonderful people, and becomes a bit of an internet celebrity in the process, but what is the real reason behind his decision to do this rather out-of-character adventure, and will the reappearance of demons from his past stop him from completing his journey?

Perhaps that doesn’t sound like the most enthralling of watches - there is obviously more to it than that, but I wouldn’t want to give away any of the twists and revelations that appear as the story unravels. It is best to experience that for yourself as different aspects of the show come together - though even if you have figured out what a certain plot point may be before it is revealed, it doesn’t lose any of the eventual impact in a thrilling story that gently and gradually reveals layers upon layers, leading to a story of riches.

As well as being one of the people who have co-created this stage adaptation (alongside Peter Darling and director Katy Rudd), original writer Rachel Joyce has penned the book for this new version, ensuring nothing is lost from her text, finding new ways to tell the story for this new medium, and never compromising the intent in her original story. That is vital to the ultimate impact in The Unlikely Pilgrimage of Harold Fry, as this is a show full of heart and sentiment, and the connection is a huge part of what makes this such a resounding success.

This is a show that wants to make you feel something, and I will harp on about theatre at its best being able to make you feel until the cows come home, but if you come out of this theatre feeling nothing, there is a chance your heart may have stopped.Where the story takes you on a winding road full of twists and turns, the feels keep on coming - as pieces of the puzzle fit together and the truth behind a certain character is finally revealed, I found myself with a lump in my throat. Though it talks of some serious and even upsetting themes, ultimately, this is a story about human connection and the triumph that can come from one seemingly inconsequential man and the huge impact one split-second decision can have on many people’s lives. It is the very definition of inspiration, and that is what Harold Fry does at its best. Yes, it is incredibly sentimental, but wonderfully so. The result isn’t just heartwarming - I’m convinced my heart grew several sizes from watching it - either that makes me The Grinch, or I should go and see a doctor.

Though Rachel Joyce’s writing is magnificent in itself, Katy Rudd’s direction brings it to life on stage with vivid and creative choices. Creative is a word I kept coming back to throughout the show, as Harold Fry feels refreshingly different and distinct in its execution. The personification of animals and objects is a stroke of genius, always eliciting a mixture of laughs and huge grins, with an unexpected appearance of a car wash early on in the show, setting the tone magnificently. Though Harold’s journey might take him a relatively long time, the pace is much quicker here, thankfully, keeping the momentum from start to finish and rarely dipping at all. If you think you know what’s coming, you really don’t. Rudd’s direction keeps the audience on their toes, thrilling and surprising them in equal measure. Suddenly, the cast have been transformed into sheep, then we’re in a new-age shop, then visiting a doctor with a certain take on language - you get the idea.

Cleverly and creatively done, the result is showstopper after showstopper, beautifully demonstrating what can be achieved when an entire creative team are in sync with each other. With that in mind, Samuel Wyer’s fantastic design deserves all the praise, finding fantastic ways to embody the weird and wacky nature of Harold Fry’s world, with Tom Jackson Greaves’ choreography a big reason why these numbers leap off the stage. The transformations are courtesy of some striking video design from Ash J Woodward, making for a varied but consistently impressive visual.

Often, the hardest part of a new musical based on an existing story is finding songs that don’t just fit the existing narrative but successfully further the plot along. Sometimes, this can be the weakest part of any new musical, but that certainly isn’t the case here. With music and lyrics by Passenger (best known for his hit ‘Let Her Go’), the numbers prove to be one of the strongest aspects of the show, rich and varied in style. ‘Walk On The Water’ is an early example of his strengths as a writer with a rousing, celebratory performance, swiftly followed by the musically different but just as astonishing ‘Song For The Countryside’. With songs boasting clever lyrics, ‘Out Of Luck’ may not be a number you’ll want your children singing, but that doesn’t stop it being one of the standout musical moments, as is the breathtaking show closer ‘Here’s One For The Road’, ending the show on a high and further demonstrating Passenger’s knack for penning a perfectly crafted song.

Taking on the title role as Harold Fry is Mark Addy in a solid and impressive turn that could see him as a strong contender to walk off with awards for this turn over the coming months. Addy beautifully taps into the intricacies of Fry’s nature, endearing him to the audience instantly, and ensuring everybody is rooting for him to succeed, no matter how impossible his quest may seem. Addy plays this with an earnest quality, leading to a performance full of humour and no shortage of emotion. Jenna Russell is as marvellous as ever as Harold’s wife, Maureen. Though she has much less to do by comparison, she still lights up the stage at every opportunity, getting a tearjerker musical number of her own, and proving a huge catalyst for the emotional climax of the show, as the couple on separate pages reach a new fork in the road.

Noah Mullins delivers a thrilling performance as the mysterious and enigmatic Balladeer. Making their West End debut after wowing audiences on the other side of the world, Australia’s loss is London’s gain, as Mullins proves what a force to be reckoned with they really are. Giving a sense of wonder and intrigue throughout their performance, there is a changing nature between Acts, with Mullins’ range being tested through this. However, it is their vocals that truly took my breath away, with the most beautiful tone lending itself well to a collection of haunting and inspirational songs.

A strong ensemble cast fills every inch of the stage with talent, no matter how small and seemingly insignificant their roles are. Act One, in particular, fills the story with random characters who come and go, making their presence felt with their one-and-done number. Nicole Nyarambi owns the first standout musical number as Garage Girl, Daniel Crossley has a comic highlight as Silver Haired Gentleman, while Madeleine Worrall’s big and brashy number as Martina needs to be seen to be believed. A special mention must also go to Timo Tatzber for his fabulous turn as “Dog”, demonstrating great puppeteering skills and making the animal one of the standout characters of the show in a performance that can only be described as fetching.

I had heard good things about The Unlikely Pilgrimage of Harold Fry, both from its initial run in Chichester last year and from early previews during this West End run. While this excited me to see it for myself, I also worried it couldn’t live up to the hype, and I may not resonate to the story as much as most others seemed to. I needn’t have worried, as I couldn’t have loved this musical any more if I tried. In a landscape that can sometimes feel a bit samey and familiar, there is something refreshingly different about this show, with its abundance of creativity making it stand out from its counterparts.

Ultimately, it is its positive and important message that carries through, bringing a much-needed bit of light and inspiration into an increasingly dark and gloomy world. Be warned, though, this is a musical that will pull at your heartstrings - somehow managing to be life-affirming and ludicrous, The Unlikely Pilgrimage of Harold Fry is an early but strong contender for the best musical of the year. Certainly, the bar has been set for all others to meet - let’s see if anyone manages to match it as the year progresses. To quote a line that comes early on in the show - "You can give us a rating. Five stars is very good" - consider it done, with every star completely earned. If I had to recommend just one show to see in the West End at the moment, this would be it. If you’re looking to get a ticket, my advice would be to run, not walk.

The Unlikely Pilgrimage of Harold Fry plays at Theatre Royal Haymarket until 18th April. Save up to 55% on tickets from £25 at https://allthatdazzles.londontheatredirect.com/musical/the-unlikely-pilgrimage-of-harold-fry-tickets

Photos by Tristram Kenton