The Unlikely Pilgrimage of Harold Fry

Over a decade on from Rachel Joyce’s novel first capturing hearts, The Unlikely Pilgrimage of Harold Fry arrives in the West End with a quiet confidence that mirrors the heart of its journey. It is a story built on small steps rather than grand gestures and yet by the end it feels as vast as the miles Harold walks.

That sense of scale is reflected in the staging itself. It begins in a stripped back, almost bare space, allowing the focus to settle on character and atmosphere before gradually expanding as Harold’s world widens. We are first welcomed by The Balladeer and the ensemble, gently singing us into the story in a soft, folk driven manner. There is something faintly otherworldly about them, like spirits of the countryside watching over the path ahead, with an echo of folklore running through their presence. Noah Mullins brings a fae like presence to The Balladeer in the first act. Drifting through scenes with an almost ethereal quality, they feel both comforting and slightly disarming.

As the opening number comes to an end we meet our title character Harold, not as a hero, but as an ordinary man in an ordinary home sat across the table from his wife Maureen. It is that simplicity, in contrast to the show’s stylistic opening that draws you in immediately. You immediately get the sense that these two have lived a life worn down by routine and by words left unsaid. That sense of grounding gives the production a steady base, making the journey that follows feel even more powerful.

That fragile sense of normality is gently interrupted when a letter arrives from Queenie, a woman from Harold’s past now facing the end of her life. After much deliberation Harold writes and then sets out to simply post a reply. Instead, he finds himself continuing to walk, hesitating at every possible chance to post the letter, before eventually arriving at a garage. It is here where the story really bursts into life. Nicole Nyarambi’s Garage Girl delivers a powerhouse rendition of ‘Walk Upon the Water’, inspiring Harold to believe that his steps might mean something more. As the number progresses energy surges through the stage as Harold’s tentative errand transforms into the first steps of a pilgrimage fuelled by belief.

From there, the production strikes a delicate balance between heartwarming and heartbreaking, but with some genuinely hilarious moments scattered throughout. The humour often arrives just when the emotion threatens to overwhelm, but still maintains the heart of the entire production. Songs such as ‘From the Rooftops’ and ‘Out of Luck’ begin with sharp comic timing yet still maintain a surprising warmth at their core. In contrast, there are a number of deeply moving numbers, with two of the shows best being performed by Jenna Boyd, who proved herself a true standout. Playing multiple roles, including the Farmer’s Wife and Sister Philomena, she delivers some of the most moving vocals of the night. ‘Song for the Countryside’ is beautifully choreographed with fantastic use of props that add to Boyds’ performance, whilst her rendition of ‘Keep on Walking, Mr Fry’ is tear inducing in the best possible way, filled with compassion and strength. It is this ability to move from laughter to something deeply heartfelt in a matter of moments that immediately made this show feel so special.