"The whole production can be seen as an astute study of the psychological defence mechanisms children employ to escape possible abuse and definite grief and loneliness."
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"This is a show in which illusions and magical tricks – cups appearing out of nowhere - sit side by side with powerful appeals to the imagination."
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“It’s no wonder The Ocean at the End of The Lane has been such a success, and this brief return to the West End is one final chance to see a production that is breathtakingly magical, in more ways than one.”
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Alongside them, the entire cast is just remarkable. The way Trevor Fox (Dad) goes through the motions and how Finty Williams (Old Mrs Hempstock) carefully balances grandmotherly warmth and ancient powerful being left me speechless at times. The Ocean at the End of the Lane is probably the most well rounded production I have seen in a while - wholesome and healing.
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No other production I’ve seen has captured the experience of childhood, the terror and the beauty – not what actually happened, but what it felt like (which is also what adaptation is about).
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Though the sentimental ending goes on a bit, this is a genuine rarity – a show that enthrals all generations without patronising any.
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The bottom line is, shows like this don’t come along very often. Maybe it’s changed, maybe I’ve changed, but second time out ‘The Ocean at the End of the Lane’ felt bigger, stranger, sadder and more beautiful – I wish I could swim in its twilight waters for longer.
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If anything, the diverse disciplines of theatre work even more closely together here to weave a spell than they did at the National. We all thought this transfer wouldn’t happen, even Gaiman. I’m glad we were wrong.
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