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The Unlikely Pilgrimage of Harold Fry (Susan Elkin reviews)

The Unlikely Pilgrimage of Harold Fry

Rachel Joyce, Peter Darling and Katy Rudd, who also dircts.

Music by Passenger

Theatre Royal Haymarket

Star rating: 5

 

I liked this vibrant show in its first outing in Chichester Festival Theatre’s almost-in-the-round Minerva Theatre last year so much that I awarded it five stars which is unusual for me.  It has now bedded so happily – despite proscenium arch limitations – into Theatre Royal Haymarket, that, if I could, I’d give this West End transfer six stars. Rarely have I seen a show as close to perfection as this one is.

Based on Rachel Joyce’s 2012 novel it tells the story of a very ordinary man (Mark Addy) living in Devon with his wife (Jenna Russell) of many years. Their marriage has become humdrum and they aren’t communicating. Then comes a letter from a former colleague of Harold’s telling him that she is dying in a hospice. So, for reasons he doesn’t even understand himself, he sets off to walk 500 miles to Berwick-on-Tweed to say goodbye to her. In the tradition of Pilgrim’s Progress, The Canterbury Tales, The Hobbit and every other quest story you can think of, he has enlightening encounters on the way.

It’s a rich narrative about marriage, love, hope, despair, grief, forgiveness, reconciliation and friendship. And part of the reason it works so well on stage is that Rachel Joyce herself wrote the musical’s book and has co-adapted it as a quasi-folk opera with Peter Darling and director, Katy Rudd. The result is stunning at every level.

The two central performances are beautifully nuanced. Addy’s Harold is down-to-earth and likeable but he has issues.  And Rudd’s direction – wonderful ensemble work enhanced by Paule Constable’s evocative lighting –  reveals his troubled inner world perfectly. Addy is no singer but does occasionally contribute a bit of song-spiel and it’s fine. Jenna Russell’s character, meanwhile, is on a journey of her own and it’s gradually developed with warmth and some very pure moments of reflection through singing. There is (no spoilers in case you don’t know this story) a massive elephant in the room which, for a long time, blocks communication between them.

Then there’s guitar-playing Noah Mullens as the balladeer who dances ethereally around them, singing Passenger’s songs with panache and driving the narrative. The music, with orchestrations and arrangements by Jeremy Holland-Smith, comes in various folksy styles from the hilarious Out of Luck (brilliant cameo by Madeleine Worrall) and the Tin of Soup for One (ditto Jenna Boyd) to the poignant power of many other numbers. And it’s adeptly driven by Chris Poon with a seven-piece band in the pit. Full marks too, to Clodagh Kennedy who plays fiddle – mostly on stage – with astonishing energy, especially in the barn dance sequence. Her ability to switch styles continually is very impressive.

This show is a pleasingly democratic ensemble piece in every sense of the word. The ensemble represents the mood of the moment in movement, shifts scenery and sits at the side passing props such as phones to support centre stage action. And almost every ensemble member emerges, at some point, as a character with his or her own role/number. This, as with Ballet Shoes, is Katy Rudd at her inspiring best.

The reason The Unlikely Pilgrimage of Harold Fry works so outstandingly well is that this is a show about “real” people. We all know them. So we feel totally in touch as they try to make sense of their lives. No wonder there were so many empathetic audience tears at the end. Bravo to everyone involved.

 

I reread each of Jane Austen’s six novels about once in ten years. This is the fourth time I have featured her here in this blog which has been running just over five years. It means that I have read each of these novels at least five or six times. And she never fails me.

The really interesting thing is the way that I, and presumably most other Austen-inclined folk, tend to react differently at each rereading. Well, as I used to point out to students, the books don’t change. It’s the reader who brings different experience and shifting cultural attitudes each time he or she opens the covers.

It was certainly the case with Emma which I have just reread for three reasons. First, it’s a novel I have always enjoyed. Second, I thought it would be an interesting title to write about here. Third, I am developing a short story predicated on one of the minor characters.

So what, at surface level, is this novel about? Emma, not quite 21, lives with her widowed, neurasthenic father in Surrey. She has a certain amount of local status and likes to organise other people’s lives. Thus we meet villagers and others, especially her younger, easily-led, less privileged friend Harriet Smith. Also in mix are her London-based married sister and her family along with her former, just married governess who lives nearby. Then there’s the avuncular Mr Knightley, a near neighbour and close family friend. All these groups are interlinked and immaculately, often amusingly observed. And her characterisation is startlingly acute – this is Jane Austen after all.

Beneath the surface simmer issues about social class and changes to perceptions: Mr Knightley’s farming tenant, Robert Martin is well educated and respectable. He is almost gentry and his children probably will be. And of course, marriage is a burning question, Marriages aren’t arranged in this world but they tend to fall into place – or not. Moreover, with that go all the questions about inheritance and legacy.

Austen famously said that in Emma, she had created a character whom nobody would like except her creator. Well that’s disingenuous. Emma is full of herself and very keen on manipulating others but when she eventually realises her folly and its consequences, she is genuinely contrite. Surely she’s just a very young and arguably immature, woman  with a lot to learn? She is rude to Miss Bates too – well I think most young people would be, actually. Miss Bates is one of those marvellous Austenian characters whom we’ve all met: garrulous, self effacing, well-meaning and you certainly don’t want to get stuck with her at a party. No I don’t dislike Emma. She’s learning fast, after all.

What struck me forcibly this time is that I don’t care for Mr Knightley. Did Austen expect me to? He is 16 years older than Emma and has apparently, it eventually turns out, had his eye on her as wife material,  almost ever since she was born. When he was 21 and, presumably out sowing wild oats, Emma was a child of five. It makes me feel a bit queasy.  That’s why, though, despite his prosperity as a landowner he is still single in his late thirties.  To the version of me rereading this in 2026, it feels uncomfortably and unhealthily inappropriate given the age difference and his fraternal relationship with her

Meanwhile Mr Knightley constantly corrects Emma and tells her how to behave. It’s benign and fairly light-hearted but who on earth does he think he is? Eventually when the inevitable Austen happy ending hoves into view he apologises to Emma for his former bossiness. Is he now going to stop being an overbearing quasi older brother and respect her as an equal? Well he might try to but patronising old habits die hard so I’m not holding my breath.

Of course the plot runs on all the usual Austen misunderstandings. A very old friend of mine is an antiquarian book dealer and I honestly thought that he had read every book on the planet. To my astonishment he told me recently that he had never read Austen. “She wasn’t taught in boys’ schools” he said. Then came the pandemic when my friend read them all in a row. His comment was that if you consume them en bloc the novels begin to feel formulaic. And I suppose that’s what I mean by the usual misunderstandings. Emma is mildly drawn to Frank Churchill who’s a bit of a charmer but the reader knows immediately that he’s not quite what he seems – we’ve been here before in the other novels. We can also see that Mr Elton (Austen’s awfully good at clergymen on the make) is simply looking for a wife and doesn’t much mind who she is. And that’s a familiar plotline too.

Not that it matters. It’s all done with such rapier wit that whatever the plot details are you are swept happily along, Or at least I am. I think it will be Sense and Sensibility next. Give me a few months.

Next week on Susan’s Bookshelves: With the End in Mind by Kathryn Mannix

Star Wars and The Planets

Philharmonia

Conductor: Marin Alsop

Guitar: Sean Shibe

Royal Festival Hall, 08 February 2026

It’s great fun to hear John Williams’s Star Wars music live. Structured as a suite, it’s effectively a symphony. Alsop gave us lots of loud drama although it took a few bars for the tempo to settle at the start. There was excellent wind and horn work in the second movement and admirable cello lyricism in the third. And John Williams is very good at fanfares which begin conventionally and then stride off into alien territory – all adeptly delivered by the Philharmonia in fine form. I was also struck by how well Williams knows his Elgar. Alsop gave us just the right level of cheesiness in the final movement’s Big Tune.

Then came a complete contrast with the Philharmonia pared down to chamber proportions for Roderigo’s delightful guitar concerto. It is, of course, a very familiar piece. It frequently crops up both on both our leading classical music radio stations and we’ve all got recordings. I don’t think, however, that I’ve ever before heard a live performance. Sean Shibe played the opening Allegro con spirito with delightful percussive delicacy while Alsop coaxed filigree accompaniment from the orchestra in support of the intricacy of the guitar. Shibe played the cadenza with lots of vibrato, evocative warmth and freedom. The nicely controlled transition into the Allegro gentile was a good moment in an enjoyable performance in which the chemistry between soloist and conductor was palpable.

And so to the magnificence of The Planets. For some reason best known to itself (I think there was a mix up with my press booking) the PR department had put me in Box 1, Green Side rather than in the stalls where I am usually positioned. It meant I had a quasi-celestial view above the orchestra which was perfect for Holst’s greatest work. Thus, I saw and heard things from this vantage point that I have never noticed before despite a  lifetime of listening to this work and attending performances although first and second violins seemed a long way away.

Alsop packed Mars with pulsating power from the relentless menace of the 5/4 rhythm to the col legno string work and the brooding threat of the lower strings. Other highlights included the grandiloquence of the horns in Venus and the way Alsop simply stood back and reverently allowed the orchestra to take charge of Jupiter’s famous melody – emotional magic. I also admired the uneasiness and climactic tension she found in Uranus (oh those tubular bells!) and her attaca approach to Neptune –  thank goodness. I really don’t like the cohesion of this seven-part work being fractured by facile applause and I got the feeling Alsop doesn’t either

The celeste work in Neptune was suitably poignant but the choir (Philharmonic Chorus) was disappointing. They were positioned beyond the stage right entrance and I could see them quite clearly from Box 1. Acoustically it wasn’t great because it didn’t resonate enough and the intonation was faulty at the start. It was a good idea, though, to reinforce the fade-out into outer space by slowly closing the door.

A very pleasing concert in almost every respect although, personally I could have done without the introductory chat from Robert Looman (flute/piccolo), witty as it was.

I don’t remember learning about the 12th century at school. And that’s odd because our sensibly sequential history syllabus began with the Romans at the beginning of what we now call Year 7. It then, at the end of Year 9, arrived at 1760, which was where the O level syllabus began. So Eleanor and her tribe must have been in there somewhere. I suspect that either the politics were so complicated that they skated over it or, it was just too involved for me to get my pubescent head round so my brain simply wiped it. Either way, all I knew about Eleanor was some outdated nonsense about “fighting the infidel” and a few vague impressions courtesy of Katherine Hepburn in 1968 film The Lion in Winter.

Then I heard Alison Weir talking about Eleanor on the radio. And I was intrigued. I have read Weir before but not this biography, published in 2008, It is, apparently. her personal best seller.

Eleanor was extraordinary. She lived to be 82, married twice (Louis VII of France and Henry II of England) and probably had other liaisons. She bore ten children and there is an assumption of miscarriages and stillbirths in the gaps. She also travelled extensively including a desperately uncomfortable crusade to the middle East. It is hard to imagine her physical stamina in an era without modern medical care or transport.

What is now western France was a patchwork of provinces eagerly coveted both by France and England so there was constant war between factions – often between brothers and other close relations. Eleanor, Duchess of Aquitaine, often had to deal with her own children fighting. She became a skilled and pragmatic politician. Once her second husband (who imprisoned her for supporting his enemies) was dead and their son Richard acceded to the English throne, the elderly Eleanor ruled England with commonsense and skill while he was absent crusading for several years.

I also learned a lot about Thomas Becket with whom Henry II famously quarrelled. And, as so often in this book, Weir debunks many myths. Becket had been Henry’s chancellor and close friend for several years long before Canterbury loomed. He didn’t want the job and was, almost unbelievably in 2026, ordained as a priest only the day before he was installed as Archbishop. After that he became an ascetic – a colourful character and never a man to do things by halves. Thereafter he was a thorn in Henry’s side, as we all know.

Bishoprics were political posts and it was all pretty corrupt. It would be easy to assume, given their behaviour,  that they were a bunch of exploitative,  cynical unbelievers but, no. The superstitions which had by then firmly attached themselves to Christianity were very strong in almost everyone. There was a widespread and deep-seated fear of hell fire so they were constantly seeking absolution for appalling crimes (such as Henry’s murder of Becket). Moreover they were all terrified of excommunication – a punishment issued so readily there was a sense of The Red Queen and “off with his head” to it.

Meanwhile marriage in ruling circles was, of course, simply political. However, I was amused and surprised to read how easily dynastic marriages were ended in the 12th century – usually on grounds of consanguinity. Well, yes, these people were almost always related to each other at distant cousin level. That seems to have been routinely ignored at the time of the wedding and conveniently foregrounded when the marriage was no longer required.

It all meant, of course, that women and female children were simply pawns in male manoeuvres. But Eleanor was feisty and very much her own woman at a time when for a woman to manage her own life was almost unthinkable. You might almost describe her as an early (the first?) feminist.

This is a wonderfully well researched book. Using contemporary chronicles, Weir has managed to document where Eleanor was and what she was doing for almost every year of her life. Where there are gaps because she isn’t mentioned in accounts, Weir says so and speculates about probabilities.

It’s detailed, thorough and convincing – and best of all, written accessibly without academic fussiness.  It isn’t just about Eleanor either. It is a compressive account of government in the 12th century. And it has begun to plug a gap in my education.

Next week on Susan’s Bookshelves: Emma by Jane Austen

Maidstone Symphony Orchestra

Matilda Lloyd (trumpet) and Brian Wright (conductor)

Mote Hall, Maidstone

Well someone has to take over as Queen of the Trumpet now that Alison Balsom has retired from performance. Matilda Lloyd, with her sumptuous legato, immaculate tongue-ing, restrained flamboyance and stage presence definitely gets my vote. She played the famous Haydn concerto in E flat with tremendous dynamic control especially in the opening movement which included a cadenza full of clarity and rubato. She was sensitively accompanied too particularly in the middle movement which presents one of Haydn’s most charming melodies.

Lloyd has recently issued an CD, Casta Diva, featuring operatic arias arranged for trumpet which is garnering critical acclaim. In lieu of an encore she played two of these spliced together. It must have been fun for the orchestra to do because even Brian Wright admitted that composer Severio Mercadante was new to him. Of course they rose to the occasion with aplomb.

Matilda Lloyd’s spectacular appearance was preceded by a pleasing account of Dvorak’s Czech Suite parts of which often feature on Radio 3 and Classic FM. It doesn’t, however, seem to get into the concert hall much so it was nice to hear it live. The playing was elegant although Wright’s tempi were understated in places. The Sousedska movement, for example, was quite subdued. The horn solo and flute work in the Romance were a delight, though.

And so, after the interval, to the joyous glory of Beethoven’s Fifth Symphony in C minor.  It began with all the incisiveness it needs. How extraordinary it is that, 214 years ago, this astonishing composer could create what he did out of a simple, off-beat dot-dot-dot-dash rhythm. In this performance the Beethovenian magic was highlighted by exciting dynamics and some very attractive wind interjections. Then there was excellent string work in the second movement – I was struck, incidentally, by the strength of MSO’s viola section throughout this concert – and an imaginatively built fugal passage in the third.

For me, though, the very best bit of this marvellous symphony is the use, in the final pages, of the triumphant piccolo with those chirruping upward glissandi. I have heard professional performances where it gets lost in the muddy texture. Not this time. Bravo Angela Love. Fine job.

And finally, the delighted and quite large Mote Hall audience were given a little treat for the road. Brahms’s Hungarian Dance number 5 is always fun and MOS, now thoroughly warmed up and evidently enjoying themselves, really responded to Wright’s take on the swoops and contrasts.

Thanks, once again, MSO. It was a good way of spending a damp January evening.

REVIEW: ABSENCE OF YOUTH by Theo Duddridge at Golden Goose Theatre until 31 January 2025

Susan Elkin • 28 January 2026

‘Interesting idea in need of a lot of work’ ★ ½

Four young people are stranded in a dystopian world. We gather that the development of a miracle drug which can cure all forms of cancer and other fatal illnesses has somehow brought the world as we know it to an end. There is danger, pulsating fear and challenging dynamics between the survivors. It’s not a bad idea for a play.

There’s pleasing performance from Izaak Hamilton-New as the middle-class Henry usually able to keep calm and nice work from Jaspar Albright as Michael, the effective leader of the group who tries hard to allay fear and diffuse situations.

Beyond that, sadly, the best thing which can be said about it is “work in progress”. The worst is that it reminded me of a hastily devised piece by a Year 10 group for a school assembly, complete with a lot of defiant shouting, swearing and violence of which, in my years as a teacher, I saw dozens.

The show is over-reliant on voices off. It’s not the most dramatic device to open a show with although it does make the miracle cure issue clear by presenting it as a radio news bulletin. Later other voices and loud music simply muddy the storytelling.

The cueing is weak too. At one point at the performance I saw the music started at the wrong time, And (I think) there’s meant to be a gun shot which didn’t happen thus making nonsense of the reactions on stage.

Then there’s the length issue. Absence of Youth is billed at 45 minutes. Actually it ran on press night for 38 minutes. In common with most critics I quite like short shows but 38 minutes is barely worth the effort of travelling to the venue.

ABSENCE OF YOUTH

Written and directed by Theo Duddridge

Final Run (theatre company)

Golden Goose Theatre

27 – 31 January 2026

https://www.goldengoosetheatre.co.uk/whatson/absence-of-youth

First published by London Pub Theatres Magazine; https://www.londonpubtheatres.com/review-absence-of-youth-by-theo-duddridge-at-golden-goose-theatre-until-31-january-2026

Call Yourself an Irishman

Written and Performed by Declan Duffy

Directed by David Alexander

Jack Studio Theatre

 Star rating; 3.5

If you are born, and live, in a country are you truly a “national” even if your parents migrated from somewhere else? Declan Duffy’s thoughtful, informative autobiographical piece explores the notion of duality from his own London Irish perspective. But the fundamental point could apply to any nationality or culture especially in a diverse city such as London. Is a so-called second or third generation person Irish (or whatever) English, neither or both? The answer probably boils down to point of view and it’s more topical than ever now, perhaps, given that immigration is such a contentious issue at present.

In what is effectively an entertaining, theatrical lecture (a lot of words) rather than a play, Duffy starts with a brief history of Ireland’s relationship with England which began with Henry II’s being asked for help in 1171. That led to a takeover and triggered 800 years of strained relations between the two nations. He then ranges over football, music, pubs (his parents were publicans in Kilburn), church, Guinness, actors, writers, politics and everything else that distinguishes the Irish. He’s a richly articulate and talented presenter.

At times he acts out conversations and although he speaks naturally with a London accent, he can switch on an Irish voice and turn himself into a range of characters convincingly. He also sings several poignant songs, competently accompanying himself on guitar.

Unlike most of the audience that I saw this with (who chuckled appreciatively when they identified with what Duffy was saying)  w I have no Irish connections. That meant that I learned a lot from Duffy.  Church, for example, was so important as a bonding community for Irish immigrants in the 1990s that one church in Kilburn routinely held 21 masses each weekend.

Duffy is a charismatic stage presence whose piece often pulls you up short. I was especially struck by the stereotyping and racism against Irish people and he quotes several examples, some of them current. It is true that no one would dare tell racist jokes making fun of say, Muslims or Jamaicans so why is it still acceptable when it’s the Irish who are the butt?

Interesting stuff even if it isn’t quite theatre.

 

 

 

 

REVIEW: Cable Street at Marylebone Theatre until 28 February 2026

Susan Elkin • 27 January 2026

‘Powerful, poignant and alarmingly relevant’ ★★★★ ½    

This energetic new musical – now in its third run and heading for Off Broadway next – centres round events in Cable Street in London’s East End in October 1936.

The depression was biting, Jobs were scarce. The community was a mix of Jews, Irish and other ancestries. And there was pressure to volunteer to fight in the Spanish Civil War. Enter Oswald Mosely and his black-shirted thugs more formally known as the British Union of Fascists (BUF) to stir up discontent and hatred. Of course immigration is blamed and used as a justification for violence, especially, against the Jews. It all sounds startlingly and hideously familiar to me. Only the details have changed in 90 years.

Alex Kanefsky’s book provides an effective framing device in the form of a modern day tourist tour led my Steven (Jex Unwin). He has a diary written by a man called Sammy (Isaac Gryn) who lived in Cable Street. He shares this with the group, especially with Oonagh (Debbie Chazen) who has come from America in search of her roots. The diary acts a flashback trigger. It’s neat plotting and there are some satisfying “Ooh!” moments at the end when it all links up.

A strong cast ensures that this story packs a powerful punch. Gryn’s Sammy is a very conflicted character. He is struggling with his orthodox Jewish family because he thinks they – especially his father (Unwin, again – talented actor) – have their heads buried in the sand. The contrast between the traditional Friday night at home with the aggression outside is well nuanced. And Ethan Pascal Peters, another accomplished multi-roler, evokes huge sympathy as the geeky, gentle younger brother always quoting scripture and planning to be a rabbi. But it’s not be … no spoilers because this is actually a fast-paced edge-of-your-seat drama.

Chazen excels in a whole range of roles from a feisty Metropolitan Police officer to an Irish mother, a Jewish mother and lots more. She is richly versatile and the speed at which these actors switch characters though slick exits and entries is very impressive. In two and three quarter the pace rarely flags although the second half could lose a quarter of an hour and cut to the chase more incisively.

Lizzy-Rose Esin-Kelly is another stage commander. Her character works in a baker’s and she’s a charismatic actor to watch. She sings beautifully too. And the ensemble, which includes everyone at times, works its socks off to good effect.

Tim Gilvin’s songs are a delightful blend of anguish, celebration, statement and humour and they drive the narrative rather than being, in any sense, bolted on. The rhythmic, menacing BUF anthem, for example is suitably sinister and when Unwin sings the simple, lyrical words “This too shall pass away” the sadness is palpable. And I loved the cynical “Read all about it” numbers in which four performers don billboards and represent the views of different newspapers in witty dance and patter.

One of the most impressive things in this show is Elizabeth Boyce on violin. She’s actually part of a five piece band along with impressive actor-muso Max Alexander-Taylor (guitar). Boyce is on stage much of the time, as an unobtrusive part of the action – playing continuo, adding dimension to songs from Irish-flavoured numbers in the pub to solo internal reflection. She makes the playing look enviably effortless and it sounds glorious.

There is a QR code in the programme to enable anyone who’s interested to hear the songs again. I think this has the potential to catch on in the way that Six or Les Miserables have, I hope so because it’s fine music and, my goodness, people need to think about these issues now before it’s too late.

Cable Street

Tim Gilvin (music and lyrics) and Alex Kanefsky (book)

Directed by Adam Lenson

Marylebone Theatre

16 January – 28 February

BOX OFFICE https://www.marylebonetheatre.com/productions/cable-street

First published by London Pub Theatres Magazinehttps://www.londonpubtheatres.com/https-www-marylebonetheatre-com-productions-cable-street