The Unlikely Pilgrimage of Harold Fry – Theatre Royal Haymarket

Pictures: Roy Tan

The Unlikely Pilgrimage of Harold Fry continues at Theatre Royal Haymarket, London until 18 April 2026.

Star rating: five stars ★ ★ ★ ★ ★

First a novel and then a motion picture, The Unlikely Pilgrimage of Harold Fry arrived at Chichester’s Minerva Theatre last year transfigured into objectively the greatest artistic medium of all: a stage musical. Featuring songs by popstar Passenger and a book by the novel’s author Rachel Joyce, some questioned whether a core creative team of non-theatre artists could craft truly great stage magic. However, the production proved a smash hit and now the show has continued its journey to London’s Theatre Royal Haymarket. Based on the response at opening night, it will stay there a while.

As well as Joyce and Passenger taking to theatre naturally, this piece having the fantastic director Katy Rudd (Ballet Shoes, The Ocean at the End of the Lane) at the helm surely helps too. She has marshalled the talents of an impressive team of artists to create a wonderful piece of musical theatre that is impossible to dislike.

Joyce’s book tells the story of Harold Fry (Mark Addy), who upon learning an old friend is sick, embarks on a trek across the country to visit her. His impulsivity and questionable decision-making suggest that something is amiss in his apparently unassuming life. Over the course of the show, we are inspired by his commitment and moved by the toll it takes on the wife he unthinkingly left behind – Maureen Fry, played by Jenna Russell.

Both Addy and Russell are sublime in their leading roles. They are immediately identifiable characters, who nonetheless gradually reveal great depth. Much fun is had with an early scene of receiving and sending post – an outmoded method of communication that neatly foreshadows Harold’s eschewing of cars and trains for his cross-country journey. Addy has little to sing about at first, but in his interactions with others he is deeply likeable.

Russell’s ability to squeeze laughs out of any line she likes is matched only by her ability to bring an auditorium to tears. Her Act II number ‘Such a Simple Thing’ is a clear show highlight, and her voice’s ability to flit between delicacy and room-filling power is given a superb showcase. The whole audience is left in no doubt that among the many awards this show will surely win will be a trophy or five bearing Russell’s name.

Haunting the central couple throughout is the mysterious balladeer character, played by Noah Mullins as a mixture of A Midsummer Night’s Dream’s Puck, Hadestown’s Orpheus and Next to Normal’s Gabe. His ethereal energy works wonders for the tone of the piece, and he really shines when rallying the ensemble performers in a magnificent chorus.

Nicole Nyarambi’s ‘Garage Girl’ character proves a delightfully entertaining threshold guardian, inspiring Harold to embark on his journey with a fantastic car wash-themed dance number. Choreographer Tom Jackson Greaves’ delivers spectacular movement sequences throughout, including a delightful tap number for Daniel Crossley and Edwin Ray.

A major bugbear that I’m sure I share with many other theatregoers is when drama is heightened simply because characters inexplicably choose to not communicate clearly with one another. This plot device can work wonders for comedy, but the departure from realistic human behaviour can often be alienating in drama.

However, the misunderstandings and crossed wires of this play feel entirely justified. Addy and Russell’s portrayal of an older married couple seems so real, we imagine that what can sometimes go unsaid in a comfortable relationship has done so for decades. There is deep love there, but also a plethora of issues unaddressed. Threads are carefully woven into a powerful emotional tapestry that leaves every theatregoer sobbing by the end.

Passenger’s music starts very strong with a brilliantly arranged opening number. Beginning with simple folk instrumentation and our balladeer Mullins, a metric modulation to an irresistible 7/8 rhythm sees the stage fill with performers. Later we are treated to homages to traditional musical theatre styles alongside more recognisably pop compositions. The occasional lapses into the predictable pop harmony and half rhymes usually so loathed by musical theatre purists are easily forgiven when musical director Chris Poon’s folk-inspired band sounds so damn good.

The piece looks spectacular too. Video projection in theatre is sometimes tacky, but Ash J Woodward’s work here is tasteful. We are treated to gorgeous vistas in faux-acrylic, set off perfectly by Paule Constable’s delicate lighting design.

Some shows are too frivolous, some shows are too serious, but some find a perfect middle ground. The Unlikely Pilgrimage of Harold Fry will make you laugh and warm your heart before ejecting you onto London’s busy streets with tears in your eyes and a song stuck in your head. It is as accessible as any of the big tourist trap shows and deserves to have a long stay here before it continues on its journey.

Ian Bowkett