The Ocean At The End Of The Lane (Theatre Royal, Nottingham, Personal)
🌟 The Ocean At The End Of The Lane 🌟
15 June 2023 at 7:30pm at Theatre Royal, Nottingham
★★★★★
This was my second time experiencing the stage phenomenon The Ocean At The End Of The Lane, and the eerie magic is just unparalleled with anything I've ever seen. Adapted from Neil Gaiman's fantasy novel, it is a huge risk for a show to tackle thriller elements, but through Katy Rudd's direction, the land of the unknown doesn't seek to petrify audiences, rather leaving us curiously unsettled. I will admit, there are moments that, both times watching the show, it still send shivers as you feel the need to shrink in your seat, where such a visceral reaction is never felt from most plays, to feel so frighteningly immersed. The audience remained deathly quiet, other than the exclamations of amazement from the pure magical, jaw-dropping sequences. Both watches I remember turning to my mum next to me and just being rendered speechless, such a clever craft never ceasing to shock.
Through every element, we become so immersed into this fictional world, quite literally tensing in my seat from being transported to the hellish world. The set is generally very minimalistic, though the emptiness is captivating, with scenes of home using infrequent set change to create fleeting atmospheres, and how the protagonist ultimately loses a place of safety. The boundaries of reality and the surreal are heavily tested through Fly Davis' set design, and combined with Paule Constable's precise lighting choices (including the use of haze), every moment is picture perfect in creating intense image, as if you can freeze time and just fall in love with the craft. With well placed strobe and abstract lighting sequences, the cohort manage to deceive our eyes into believing we see things that aren't really there, questioning whether that moment really did happen, or where that actor magically vanished to.
It goes without saying that Finn Caldwell's puppetry direction will quite literally blow your mind. As the protagonist reads the classic tale of Narnia, it serves as a reminder to us that monsters aren't real. But when you are sat in the auditorium, with a 10 foot decaying beast that transforms the stage into a deathly battleground, I guarantee you will be crawling with goosebumps. Skarthatch, this gigantic monster, manifests itself in an alluring and aggressive temptation of desire, and equally with the monsters across the play, the physicality of movement is extremely well choreographed to form other-worldly bodies on stage. The creepiness of Ocean commands your attention in a way that other stage thrillers don't understand, moving away from the gimmicks of jump scares, rather more theatrical storytelling. Steven Hoggett's movement creates transitions of remarkable journeys to simulate a winding, dangerous forest on a bare stage, and the swirling shadows that we only see in nightmares are personified through bodies on stage.
The first actress I saw portraying Ursula was the astonishing Charlie Brooks, who handled the role with such a wicked dominance, though as a fan of EastEnders, the presence of Janine Butcher felt it slightly blocked the character. So to see the delightfully mischievous Jasmeen James take on the role really solidified Ursula's potent demeanour. James added a very unique and playful dynamic to the character, in a way which reflected how she disturbingly seeps into the boy's mind, possessing supernatural power, acted with such confident ease. And when I say I have thought about Ursula's magical door sequence for every day of my life since February upon initial watch, I am not exaggerating. I once again saw Keir Ogilvy portraying the 'Boy', and he was just as marvellous as the first time. Ogilvy is incredible at capturing the childlike vulnerability of the kid, and he really understands character relationships. In particular his body language with his father (Trevor Fox), ultimately losing their bond due to the dark manipulations at work. The plot can be slightly complex, but remains enjoyable as it allows you to interpret the complexities of the plot and eternal life in your own view. Adding to this, Finty Williams' portrayal of the omniscient Old Mrs Hempstock really packs a power which juxtaposes the dark arts, often dressed in white as a sense of purity. Williams brings a very endearing quality to role which is really refreshing to see amongst the chaos, and you'll be desperate to try her cheese by the end of the show!
Jherek Bischoff's score for Ocean is beyond tremendous as he forms some utterly spellbinding music, such haunting sounds created through his composition, and I will often listen to the soundtrack (available to stream) as it carries the essence of storytelling so intricately, finds the peaks and troughs of action to compliment the tension incredibly. At Nottingham's Theatre Royal, we'd booked front row, though this and the second row were taken off sale later on, so we had the front two rows all to ourselves which was a phenomenal experience, like a VIP showing which felt so special and immersive. Without spoiling some of the highlights of the show, cast members came beside us in the auditorium, we had props flying above our heads, coming face to face with ghastly creatures you are truly invited into the Edges. You'd never wish your worst enemy on the Edges, but for a couple hours in this theatrical world, I wouldn't change it for anything.
There is so so much more I could mention about the cast and creative team alike, but the best thing to do would be to experience it yourself! This review has taken me longer to write, because it is impossible to stress how The Ocean At The End Of The Lane will be one of the most spellbinding theatrical feats you will ever be able to witness in your lifetime. I just really wish this show gets the recognition it deserves, as live audiences and ticket sales don't seem to show the true appreciation. If it was ever possible for you to see one last play in your lifetime, without a doubt this would be the show. I could confidently say that Ocean has to be the play of the year, the decade, even this century.
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