The Ocean At The End of The Lane

From Coraline to The Sandman, Neil Gaiman’s dark fantasy books have enchanted and horrified readers for decades. Also no stranger to the stage, the National Theatre’s acclaimed adaptation of his 2013 novel The Ocean At The End of The Lane started life at the Dorfman Theatre before transferring to the West End’s Duke of York’s Theatre. Almost a year since its West End closing, Joel Horwood’s adaptation is now on its UK tour and I was lucky enough to be invited to see its leg at the New Wimbledon Theatre.

After hearing such positive word of mouth, did I feel it lived up to the hype?

Cast

Boy: Keir Ogilvy
Lettie Hempstock: Millie Hikasa
Ursula Monkton: Charlie Brooks
Ginnie Hempstock: Kemi-Bo Jacobs
Old Mrs. Hempstock: Finty Williams
Dad: Trevor Fox
Sis: Laurie Ogden

Review: ★★★★★

What is The Ocean At The End of The Lane about?

Returning to his childhood home, a man finds himself standing beside the pond of the old Sussex farmhouse where he used to play. He’s transported to his 12th birthday when his remarkable friend Lettie claimed it wasn’t a pond, but an ocean – a place where everything is possible…

Plunged into a magical world, their survival depends on their ability to reckon with ancient forces that threaten to destroy everything around them.

What are my thoughts on The Ocean At The End of The Lane?

Neil Gaiman’s stories often feature coming of age narratives that blur the line between fantasy and reality, and The Ocean At The End of The Lane is among his most personal works. Mostly faithful to the source while making changes to better fit the stage and themes, what appears to be a simple story filled with spectacle and sorcery ends up being a complex and emotional one tackling grief, generational trauma, dysfunctional family dynamics and growing up. Superbly directed by Katy Rudd, The Ocean At The End of The Lane leaves you on the edge of your seat one minute with its Stranger Things-esque happenings and crying the next.

While the exposition dumps about the other world (yes, that was a Coraline reference) and how its rules work confused me at points, the world-building is so fascinating as you watch the story that you can easily roll with it. I explain more how it does visually below, but elements I must praise first are Ian Dickinson’s immersive and often skin-crawling sound design and Jherrek Bischoff’s pulsating and soul stirring music that added such a cinematic quality to the show.

What are the visuals like?

The Ocean at the End of the Lane features some of the most spellbinding visuals in the National Theatre’s catalogue. Harkening back to The Curious Case of the Dog in the Night Time, Fly Davis’ set design combines realism with grotesque horror as otherworldly brambles border the stage while making props as simple as a bath or door become terrifying portals. Paule Constable’s evocative and Olivier winning lighting contrasts the mundanity of reality and the fantastical as battles and emotional conversations are bathed in illuminating greens, reds and golds.

With no CGI or projections to be found, Finn Caldwell’s imaginative puppetry and Jamie Harrison’s mind-bending illusions add so much magic to The Ocean at the End of the Lane. While it’s easy to point out one sequence involving Charlie Brooks’ Ursula coming through multiple doors as the most “how did they do that?!” moment, Harrison’s work is capable of making the audience gasp over a bloodied hand appearing from a bathtub and an arm popping through a hung up dressing gown.

What’s the cast like?

While having dazzling visuals, what really makes The Ocean at the End of the Lane work is its cast who bring so much rawness and heart to their characters. Keir Ogilvy captures the innate awkwardness and naivety of young adolescence as the unnamed Boy. Even when his family doesn’t understand why he’s clinging onto his childhood stories, you are so engaged in his arc as he grieves the loss of his mother and is forced to face harsh realities of growing up while on his adventure with the otherworldly Lettie, played with such energy and heart by Mille Hikasa.

Eastenders actress Charlie Brooks is deliciously hammy as femme fatale Ursula Monkton, with her background in soap fitting so well with her character that it felt like watching Janine Butcher if she were a demon from another dimension. In contrast to Brooks’ villainous Ursula, the other Hempstock women act as maternal figures to the Boy with Kemi-Bo Jacobs conveying such warmth as Ginnie while Finty Williams (a personal welcome for me as Angelina Ballerina was my entire childhood) brought cantankerous humour yet surprising strength as Old Mrs. Hempstock.

Trevor Fox has the most fascinating role starting and bookending as the older Boy before becoming his father. Struggling as a single parent and trying to make ends meet, he turns what could have been a one dimensional monster into a broken man. While not justifying one heinous act he makes towards his son, Fox’s ability to show his thought process and the inner turmoil he feels afterwards through the subtlest facial expressions make you question everything.

I cannot discuss the The Ocean at the End of the Lane cast without bringing up the incredible ensemble. When they aren’t playing nightmare-fuel inducing hunger birds or Skarthach in a giant elaborate puppet, they are greatly used for dramatic and comedic effect when moving props or even playing trees, often reacting and interacting with the main cast.

What are my overall thoughts?

An arresting and alluring play from start to finish, The Ocean At The End of the Lane was the perfect Neil Gaiman story to bring to the stage. Joel Horwood and the rest of the phenomenal creative team captures the often horrifying spirit of the book both adults and teenagers can relate to, while the entire cast is fantastic from all corners bring Gaiman’s raw and human characters to life. If you’ve been concerned about The National Theatre’s quality in shows lately, this should definitely change your mind. Go and see it as soon as it comes to a city near you.

The Ocean at the End of the Lane runs at the New Wimbledon Theatre until April 15th.