The Ocean at the End of the Lane’s return to the West End at the Noel Coward Theatre after a very successful UK tour definitely did not disappoint. The immensity of the piece not only creates a visually and aurally stimulating show but something to behold that touches something deep within you. The scale of the production parallels it’s talent with an outstanding cast lead by Katy Rudd from endless iconic productions like The Curious Incident of the Dog in the Night-Time at the National Theatre, West End, UK tour and Broadway.

Between Finn Caldwell’s puppetry direction and Jamie Harrison’s magic direction, the show is a masterpiece that takes your eyes, ears and heart on a wonderful, mystical, and unforgettable journey through bewilderment, awe, pity, grief and joy. The lighting, sound and set all contribute to this colossal behemoth of what can only be described as an epic play. The illusions are frustratingly perfect leaving nothing but confusion, intrigue and pure awe with the audience. Each illusion serves a purpose and the magic in the show treads the line between too little and too much perfectly. No element or effect in the show is wasteful or unnecessary. It is a careful sculpted piece of art.

The story centres around the relationship between our world and what lies beyond, when a man at his fathers funeral is transported back to his 12th birthday. When he meets a mystical best friend who will take him on a life changing adventure. The play touches on love, loss, trust, trauma and wonder.

It most definitely is not what is expected from your average play and that is because it is hardly that. It defies theatre norms in a beautiful and elegant way, encompassing every aspect of theatre possible from movement and music, to magic and puppetry. The audience are engulfed in a magical world that quite literally travels over them (which you might understand having seen the show). The perfect thing about this show is that it could easily rely on its talented cast and gripping script without the spectacle element and still be a solid piece of theatre and contrastingly rely heavily on the illusions and
effects, but it creates the a beautiful harmony between the two in which they support and uplift each other, the immense performances are not drowned out by the effects but are at one with them.

Millie Hikasa (Lettie Hempstock) and Keir Ogilvy (Boy) lead an immensely strong cast, and themselves set an impressive standard for the cast to follow. Keir’s adorable, spiteful energy mixes perfectly with Millie’s profound honesty, comedy and physical specificity in some – not to be spoiled – unbelievable movement sequences. Finty Williams (Old Mrs Hempstock) sensationally provides a sense of stability yet her play and wit creates one of the most amiable characters to date. Charlie Brooks (Ursula) brings perfection to the antagonist, creating a fierce, frustratingly cunning character. Daniel Cornish (alternate Boy) also provided a nice innocence to the role evoking a sympathy and a willingness for him to win from the very beginning. Trevor Fox is unbelievable as Dad, to say the raw emotional struggle he displays is tear-jerking is an understatement. His ability to morph between dark and light, innocence and ‘less than innocence’ is a marvel to behold, cultivating in a moment between the Dad and Boy that is one of the most touching moments I’ve seen in a long time.

This play is a spectacle to behold and is at the very least, a must see!

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