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For those who know me well (and for that experience, I cannot apologise enough), they will be fully aware that I tend to have quite a long list of obsessions when it comes to pop culture. In terms of the fantasy genre I have two; a certain set of stories that take place in Middle Earth and the works of Neil Gaiman. Coraline, Stardust, Good Omens and The Sandman are just four of many literary obsessions and it’s probably best left to another article to detail the the plethora of rabbit holes that I’ve wandered down when immersing myself in his work. And unlike some other writers, his written work for me has often translated beautifully to stage and screen – the big screen version of Stardust is forever on my streaming playlist and the recent TV adaptation of The Sandman was quite simply incredible (Ep6 “The Sound of Her Wings” is achingly beautiful).
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So you can imagine my delight when I heard that the National Theatre’s major new stage adaptation of The Ocean at the End of the Lane was coming to my local city of Aberdeen. No pressure then people.
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“The Ocean at the End of the Lane” is a novel written by Neil Gaiman. It follows the perspective of an unnamed protagonist, a middle-aged man who returns to his childhood home for a funeral. While there, he revisits his old neighbourhood and becomes flooded with memories of his past.
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The story delves into his childhood experiences, centering around a remarkable and mysterious girl named Lettie Hempstock, who lived with her mother and grandmother on a farm at the end of the lane. The protagonist recalls his friendship with Lettie and the extraordinary events that unfolded after he encountered a series of supernatural occurrences.
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As the protagonist recounts his memories, the novel takes on a magical and otherworldly atmosphere, blurring the lines between reality and fantasy. The Hempstock family is revealed to possess powers that transcend the ordinary world, and they play a pivotal role in protecting the protagonist from malevolent and ancient forces that threaten his existence.
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The story explores themes of memory, childhood innocence, the power of storytelling, and the boundary between the mundane and the magical. Through the protagonist’s reflections on his past, the reader is taken on a journey that alternates between nostalgia and wonder, showcasing Gaiman’s signature blend of fantasy and emotion.
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As with much of Neil Gaiman work, the main question is whether some elements would translate from prose to stage – The Ocean at the end of the Lane has a number of scenes in the book which made me seriously wonder whether a successful transition could be made. Well, have no fear as director Katy Rudd masterfully weaves together reality and fantasy, guiding the audience through a captivating and imaginative expedition that explores challenging topics such as grief, the loss of innocence in childhood, tragic loss, self-inflicted death, and familial abuse. However, amidst these profound themes, the narrative ultimately unveils a heartening tale highlighting the remarkable potency of companionship.
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The ensemble, spearheaded by Keir Ogilvy portraying Boy and Millie Hikasa as Lettie, delivers an exceptionally remarkable performance. Hikasa’s skillfull delivery of raw emotion combined with a deft comedic timing was a joy to behold. A special acknowledgment is also due to Charlie Brooks as Ursula, Trevor Fox as Dad, Laurie Ogden as Sis, Kemi-Bo Jacobs as Ginnie, and Finty Williams as Old Mrs. Hempstock. Quite simply, each one pitch perfect in their respective portrayals.
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The set design, skilfully crafted by Fly Davis, is a sight to behold, evoking a dark yet enchanting ambiance that never fails to impress and delight in equal measure.
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As for the group the ensemble, a truly remarkable group. Meticulously guided by movement director Steven Hoggett, they breathe vibrant life into the production, enriching Gaiman’s writing with the level of imagination it truly deserves. There are instances when they gracefully traverse the stage to shift scenery, artfully pausing or withdrawing as actors contemplate their movements. On other occasions, they skillfully manipulate actors into graceful floating and dramatic falling, crafting captivating combat sequences. Particularly awe-inspiring is their utilisation of puppetry to manifest monstrous beings, leaving you in utter amazement at the entire spectacle. The moment the Flea first appears is genuinely breathtaking as they animate a soul-devouring creature that grows as it moves, contorting and twisting to command the entire stage. Simultaneously, their malevolent “hunger birds” cast ominous shadows in the darkness, skillfully employing light to construct a brilliantly sinister ambiance. And as for the scene where Lettie & Boy swim in the ocean, well the puppetry is achingly beautiful. Turning your gaze away becomes an impossibility.
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If sequences of physical theatre and the mesmerising puppetry on display are genuinely breathtaking, these elements are stunningly complemented by an entrancing musical score composed by Jherek Bischoff, commanding our focus as we are whisked away into the enchanting yet at times unsettling realm being brought to life before our eyes.
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What cannot be denied is the theatre possesses a unique ability to seamlessly intertwine imagination and reality right before your eyes, and “The Ocean at the End of the Lane” stands as an exceptional amalgamation of narrative artistry and enchanting stagecraft. I think Neil Gaiman would be delighted with this adaptation. I know I am.
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Perhaps the final words should go to the teenage girls I passed on the way out at the end of the production. As they were getting up from their seats one turned to the other and said “Holy hell, that was the best f*****g thing I’ve ever seen in my life!”
I don’t think I could put it better myself.
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‘The Ocean at the End of the Lane’ is at His Majesty’s Theatre until 26th August.
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