The Unlikely Pilgrimage of Harold Fry West End Reviews

As a story, it may not appeal to those looking for more grit as it brims with sentimentality, but it is saved from slipping into syrup by the music; composed by singer-songwriter Michael Rosenberg, otherwise known as Passenger. It is a refreshing mix...

As a story, it may not appeal to those looking for more grit as it brims with sentimentality, but it is saved from slipping into syrup by the music; composed by singer-songwriter Michael Rosenberg, otherwise known as Passenger. It is a refreshing mix of predominantly folky soul and rock ballads. Nicole Nyarambi raises the roof with "Walk Upon the Water", a rousing gospel track and there is much humour in the irreverant “You’re F**ked”. The emsemble do good work, particularly in the touching "Keep on Walking, Mr Fry" and the rousing finale "Here's One for the Road".

Rudd’s direction leans into the whimsy of the road while never shying away from the fear that haunts Harold’s footsteps. The way the ensemble shifts from being the wind in the trees to the judgmental men in a café is perfect. There’s also come...

Rudd’s direction leans into the whimsy of the road while never shying away from the fear that haunts Harold’s footsteps. The way the ensemble shifts from being the wind in the trees to the judgmental men in a café is perfect. There’s also comedy there too – a number involving dancing car wash is excellent, while there’s some perfectly pitched contributions from lighting designer Paule Constable and video designer Ash J Woodward.

We are in safe hands with Game of Thrones and The Full Monty actor Mark Addy, who plays the titular Harold. His performance is the acting equivalent of putting on a favourite, comfortable old jumper — his Harold is a little rough round the edges, b...

We are in safe hands with Game of Thrones and The Full Monty actor Mark Addy, who plays the titular Harold. His performance is the acting equivalent of putting on a favourite, comfortable old jumper — his Harold is a little rough round the edges, but he is good, real, stoic, and completely captivating. He sets out as a man seeking to provide comfort to another, but realises he is the one who needs to be healed along the way. Addy may not have the strongest vocals in the company, but the show’s penultimate confessional song “Dear Girl in the Garage” is rousing and layered with years of grief and regret.

The truth, though, is that while the folk-inflected songs by Mike Rosenberg (known as Passenger) are amiable enough — Chris Poon’s compact band cut a dash and the lyrics inject some surprisingly salty humour at times — Joyce’s script is oddly...

The truth, though, is that while the folk-inflected songs by Mike Rosenberg (known as Passenger) are amiable enough — Chris Poon’s compact band cut a dash and the lyrics inject some surprisingly salty humour at times — Joyce’s script is oddly underpowered. It’s hard to take an interest in whether her unassuming Devon hero makes it to his destination in Berwick-upon-Tweed, where an old acquaintance, Queenie Hennessey, lies dying of cancer in a hospice. Katy Rudd’s production at the Haymarket in the West End trudges on and on, tugging at our heartstrings along the way.

Elsewhere the score, like the plot, defaults to the sort of generic you-can-do-it, anything-is-possible platitudes you might find on a motivational poster. I feel like a heel for gently putting the boot into this ambulant odyssey, but Harold Fry left...

Elsewhere the score, like the plot, defaults to the sort of generic you-can-do-it, anything-is-possible platitudes you might find on a motivational poster. I feel like a heel for gently putting the boot into this ambulant odyssey, but Harold Fry left me admiring rather than genuinely moved.

While Joyce’s story is distinctly modern, underscored by Passenger’s music, it hints at timeless folklore, epitomised by Noah Mullins’ confident Balladeer, a wilful, mystical narrator, whose role changes as story gathers momentum. Addy is a sol...

While Joyce’s story is distinctly modern, underscored by Passenger’s music, it hints at timeless folklore, epitomised by Noah Mullins’ confident Balladeer, a wilful, mystical narrator, whose role changes as story gathers momentum. Addy is a solid and endearing presence as Fry. There’s a genuine sense of a journey to his performance as, step by painful step, he exposes the trauma that has haunted Harold’s life. It’s a curious and occasionally frustrating choice for the lead character to sing barely a note, but this is countered by the sensational Russell, who interprets Passenger’s songs with emotional integrity and a sublime narrative skill. An excellent ensemble undergo a myriad of quick-changes to play the people Harold meets along the way, notably Nicole Nyarambi as the inspirational Garage Girl and Daniel Crossley as an unexpectedly candid Silver-Haired Gentleman.