Review: The Ocean at the End of the Lane, Theatre Royal Bath – ‘One of the most impressive and memorable pieces of theatre that you’re likely to see in your lifetime’

Neil Gaiman’s 2013 fantasy fable about life, death, and what we do at the edges, appeared on the National Theatre’s stage in late 2019. But like so much great cultural work, it was waylaid by a real-life monster: the pandemic.

We are extraordinarily lucky that it survived, and that it’s not only touring, but thriving, across the country. Without doubt, it will prove to be one of the most impressive and memorable pieces of theatre (and certainly, adaptation) that you’re likely to see in your lifetime.

It’s a simple enough story: Boy, sister, dead mum, and a kindly, grieving dad who’s taking in lodgers for money. When the lodger commits suicide, Boy is flipped into story-worthy otherness. Be wary: the suicide isn’t shied from, and – with thematic justification – is explicitly and theatrically revisited.

Keir Ogilvy (Boy), Millie Hikasa (Lettie), Kemi-Bo Jacobs (Ginnie) and company – photo: Brinkhoff-Moegenburg

This transgressive death creates a “crack”, where a supernatural monster sneaks in, clad in the Coraline-style outer disguise of a nanny/lodger/potential step-mum.

Gaiman’s signature tone of moonlit whimsy is rooted in much darker notes, thanks to the theatricality of the show: the tonally perfect set (Fly Davies), sweet and horrifying puppets (Samuel Wyer), superlative light design (Paule Constable), and eloquent exciting movement (Steven Hoggett).

Keir Ogilvy (Boy), Finty Williams (Old Mrs Hempstock), Millie Hikasa (Lettie) – photo: Brinkhoff-Moegenburg

The music and sound are outstanding and incredibly powerful (composer Jherek Bishcoff; sound, Ian Dickinson). Supporting Joel Horwood’s excellent script, these create the perfect show under Katy Rudd’s confident direction.

If you’re familiar with the film of Gaiman’s Coraline, you’ll recognise this technique; childlike storytelling tools (in that case, stop-motion), are splattered with the stains of humanity’s darkest places (parental manipulation and abuse). And as in all great fairytales, the scariest place is home. It’s only by adventuring out of it, by daring through great danger – which you cannot do alone – that you become strong enough to lead you and your loved ones through life; through the darkest forest of all.

Domonic Ramsden, Keir Oglivy (Boy), Aimee McGolderick, Millie Hikasa (Lettie) – photo: Brinkhoff-Moegenburg

Boy is played by alternating actors. We had the joy of Keir Ogilvy’s absorbing performance, opposite Millie Hikasa’s engaging Lettie. Trevor Fox is an excellent Dad, full of warmth and the love every home should have. Charlie Brooks is a great menace as Ursula and the whole cast present a strong ensemble.

With its burnt toast, hot running water, sometimes terrifying effects and gorgeous Brit-magic-normality, this show is a jewel in the NT’s crown. It’s not for the fainthearted. But go.

Charlie Brooks (Ursula) and Keir Ogilvy (Boy) – photo: Brinkhoff-Moegenburg

The Ocean at the End of the Lane is at Theatre Royal Bath from March 7-18 at 7.30pm with additional 2.30pm matinee shows on Wednesday, Thursday and Saturday. Tickets are available at www.theatreroyal.org.uk.

All photos: Brinkhoff-Moegenburg

Read more: Review: Noughts and Crosses, Theatre Royal Bath – ‘Powerful, engaging, and important for everyone’

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