The Ocean At The End Of The Lane

The Ocean at the End of Lane, a novel by Neil Gaiman, was first published in June 2013 and has been adapted for the theatre by Joel Horwood. The theatrical adaptation, directed by Katy Rudd, is truly a force of one vivid imagination which combines amazing sets, fantastic lighting and startling sound effects to create a piece of wonderful storytelling which is absolutely stunning.

The audience are in thrall the moment the performance begins.

Returning to his childhood home to attend a funeral, a man finds himself standing beside the pond of the old Sussex farmhouse where he used to play as a child. He is whisked back in time to his twelfth birthday when his friend, Lettie, claims that it wasn’t merely a pond, but an ocean where anything and everything is possible. Together, they are plunged into a magical and sometimes frightening world, where their very survival relies on their ability to confront the ancient and malevolent forces that threaten to destroy everything around them that they hold dear.

As ever, the scariest place of all is home where a child should feel safe and secure but very often doesn’t. We learn that it is only by leaving the familiar behind that the strength may be gained to guide them through life.

The cast are exceptional. Boy (Keir Ogilvy) although a mature adult, plays a convincing boy and is well matched to play opposite Millie Hikasa’s Lettie. Trevor Fox is the caring Dad mostly providing the comfort and nurture via burnt toast, that should be in every home whilst Charlie Brookes plays the menacing villain, Ursula, which is quite appropriate when you think of her former role as Janine in the television soap ‘Eastenders’. Lettie lives with her mother (Kemie-Bo Jacobs) and her grandmother (Finty Williams) who is as fabulous as you would expect with her family pedigree. The three women combine to keep Ursula in check and restore some much-needed calm to the Boy’s home.

The ensemble move together as one. They are without names or faces but they are central to many of the scenes (and scene changes), especially the magical elements, whereas strange creatures they writhe and twist to create frightening silhouettes. Their portrayals of Skarthach in flee form and the hunger birds were particularly notable as they moved together to bring the beasts to life.

Whilst the magical characters are named, the Boy and his family are not implying perhaps that they are ordinary folk and maybe even just like you or I.

The creative team of PauleConstable (Lighting), Fly Davies (Set Designer), Ian Dickinson (Sound), Samuel Wyer (Costumes and Puppets) and Steven Hoggett (Movement) together have created a stunning piece of work. Of especial note is the powerful music of Jherek Bischoff.

The past is never far away and everyone has fears and nightmares. Often our imaginations can run away with us, but two questions spring to mind -Where does imagination start and reality end? And do our memories shift and change as we go through life?

As Gaiman himself elaborates and says it is “about what we forget and what we might carry with us.” Certainly, some food for thought?

This production deserves to run for a long, long time.