15 June 2023 I 19:30 I Theatre Royal, Nottingham
⭐⭐⭐⭐⭐
This has been my second time experiencing the stage phenomenon The Ocean At The End Of The Lane, and such spellbinding magic is unparalleled with anything I have ever seen. Adapted from Neil Gaiman's fantasy novel, and under Katy Rudd's direction, the land of the unknown doesn't seek to petrify audiences, rather leaving us curiously unsettled. It still sends shivers as you feel the need to shrink in your seat, where such a visceral reaction is never felt from most plays, to feel so frighteningly engaged. Palms will be sweating! The audience remain deathly quiet, other than the exclamations of amazement from such jaw-dropping sequences. Both watches, I have turned to my mum next to me and just been rendered speechless, a clever craft never ceasing to shock.
Through every element, we become so immersed into this fictional world, it can be hard work as an audience member, very tense from start to finish. The set is generally very minimalistic, though the emptiness is captivating. Infrequent set change creates fleeting atmospheres, mimicking how the protagonist ultimately loses a place of safety. The boundaries of reality and the surreal are heavily tested through Fly Davis' set, and combined with Paule Constable's precise lighting design and haze, every moment is picture perfect. Utilising intense imagery, you could freeze time and just fall in love with the book's manifestation into life. With well placed strobe and abstract lighting sequences, the cohort deceive your eyes into believing things that aren't really there, questioning whether that moment really did happen.
It goes without saying that Finn Caldwell's puppetry direction will quite literally blow your mind. As the protagonist recites the classic tales of Narnia, it serves as a reminder that monsters aren't real. But when you are sat in the auditorium, with a 10 foot decaying creature that transforms the stage into a deathly battleground, I guarantee that you will be crawling with goosebumps! Skarthatch, this gigantic monster, declares its presence in an alluring and aggressive temptation of desire. The physicality of movement is extremely well choreographed to form these other-worldly bodies on stage. This play truly commands your attention in a way that other stage thrillers don't understand, moving away from the gimmicks of jump scares in more theatrical storytelling. Steven Hoggett's movement creates transitions of remarkable journeys to simulate a winding, dangerous forest, nightmarish swirling bodies personified onstage.
The first actress I had seen portraying Ursula was the astonishing Charlie Brooks, handling the role with wicked dominance. Though as a fan of EastEnders, the presence of Janine Butcher slightly blocks the character. To see the delightfully mischievous Jasmeen James take on the role really refreshes Ursula's potent demeanour. James adds a unique and playful dynamic to the character, reflecting how she disturbingly seeps into the boy's mind, possessing supernatural power with such confident ease. And when I say I have thought about Ursula's magical door sequence for every day of my life since initial watching in February, I am not exaggerating! Keir Ogilvy portraying the Boy is equally marvellous, incredible in capturing the childlike vulnerability of the kid, through understanding character relationships. In particular his deteriorating body language with his father (Trevor Fox), ultimately losing this familial bond due to the dark manipulations at work. The plot is wildly fascinating, remaining enjoyable as it allows you to interpret the complexities of the plot and eternal life in your own view. Finty Williams' portrayal of the omniscient Old Mrs Hempstock really packs a purity of power. Williams brings a very endearing quality to role which is a relieving balance amongst the chaos.
Jherek Bischoff's score for The Ocean... is beyond tremendous, forming utterly haunting sound through his composition. I will often listen to the soundtrack (available to stream) as it carries the essence of storytelling so intricately, finding the peaks and troughs of action to compliment tensions. At Nottingham's Theatre Royal, we had booked front row, though this and the second row were later taken off sale, so we had the front two rows all to ourselves, an epic experience, like a VIP showing! Without spoiling some of the highlights of the show, cast members come beside us in the auditorium, props above above our heads, coming face to face with ghastly creatures you are truly invited into the story.
There is so so much more I could mention about the cast and creative team alike, but the best thing to do would be to experience this yourself! This review has taken me longer to write, because it is impossible to stress how The Ocean At The End Of The Lane will be one of the most entrancing theatrical feats you will witness in your lifetime. I really wish this show gets the recognition it deserves. If it was ever possible for you to see one last play in your lifetime, without a doubt this would be this. I could confidently say it has to be the play of the year, the decade, even this century.
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