A Journey Worth the Miles: The Unlikely Pilgrimage of Harold Fry

The Unlikely Pilgrimage of Harold Fry | Theatre Royal Haymarket until 18 April

A walk across England becomes a journey of memory, regret and hope. A gentle, inventive musical adaptation of a best-selling novel.

“I’m going to walk to Queenie Hennessy. I will keep walking, and she must keep living.” That simple promise sets everything in motion in the musical now adapted for the stage by its original author, Rachel Joyce.

Harold Fry is an ordinary retired man living quietly in Devon. One morning he receives a letter from an old colleague telling him she is dying in a hospice in Berwick-upon-Tweed. He writes a reply. Then, on impulse, he keeps walking. First to the post box. Then further. Eventually he decides to walk the entire length of England. His reasoning is beautifully irrational: if he keeps walking, Queenie will keep living.

It’s an unlikely premise. But it becomes the starting point for a story about memory, regret and the possibility of change.

It’s a risky move when a novelist adapts their own work. Theatre has an old adage: kill your darlings. Knowing what to cut is just as important as knowing what to keep. Too much loyalty to the original can weigh a stage version down. Happily, that hasn’t happened here.

Joyce has shaped her story into a thoughtful and often deeply moving musical, with songs by Brighton singer-songwriter Passenger. It’s always exciting when contemporary musicians bring their voice into theatre, and Passenger’s gentle indie-folk sound suits the piece well. Their score is atmospheric and often lovely, but a handful of the slower ballads don’t land as strongly as the story deserves. It’s a small blemish in an otherwise carefully judged musical landscape.

What begins as an odd personal quest slowly becomes something deeper. Along the road Harold meets strangers, confronts memories, and gradually faces the emotional distances within his own life, particularly with his wife Maureen.

At the centre of the production is Mark Addy as Harold. It’s an unusual leading role in a musical because Harold barely sings. Addy has only one proper number and a brief additional moment. Instead, the performance rests largely on stillness and observation. However, it works. Addy captures Harold’s quiet, buttoned-up nature beautifully. You sense a man who has spent a lifetime holding things in, slowly learning how to open up as the miles pass beneath his feet.

Opposite him, Jenna Russell gives a superb performance as Maureen. Russell is always a compelling stage presence and she brings emotional clarity to the role. She’s given two of the show’s larger ballads and delivers them with her usual commitment, though the songs themselves don’t quite soar in the way you might hope.

Where the production really excels is in its staging. Director Katy Rudd, whose work on The Ocean at the End of the Lane remains one of the most visually inventive shows of recent years, again demonstrates an impressive theatrical imagination.

The challenge of this story is obvious: how do you stage a walk the length of England?

The answer is elegant rather than literal. The stage is circular rather than revolving, and a highly versatile ensemble constantly transforms the space, shifting from characters to landscapes as Harold travels north. A video wall helps suggest locations without overwhelming the action.

And then there’s the dog. A beautifully realised puppet companion appears during the journey and quickly steals the audience’s affection, beautifully brought to life by puppeteer Timo Tatzber. It’s a small touch but a delightful one, adding warmth and charm to Harold’s travels.

What emerges overall is a production that feels unmistakably British, gentle rather than showy and ultimately very moving. By the end, Harold’s physical journey becomes something much larger: a meditation on regret, forgiveness and the possibility of change, even late in life.

It’s thoughtful, imaginative theatre. And rather life-affirming too.

Rachel Joyce successfully adapts her own novel into a moving musical, supported by a thoughtful indie score from Passenger. Mark Addy leads with quiet warmth, and Katy Rudd’s inventive staging keeps the long journey theatrically engaging.

For more theatre reviews and cultural reporting from across London’s stages, follow EyeOnLondon.

[Photo Credit | Tristram Kenton]

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