Review: The Unlikely Pilgrimage of Harold Fry at Theatre Royal Haymarket

⭐⭐⭐⭐ (Four Stars)

Transferring to the West End from Chichester Festival Theatre, The Unlikely Pilgrimage of Harold Fry sees Rachel Joyce adapt her novel of the same name for the stage in a production directed by Katy Rudd, with music and lyrics by Passenger. The show explores grief in a touching and affecting piece of musical theatre storytelling.

We meet the titular Harold Fry (played by an endearing Mark Addy) as he receives news that a former colleague, Queenie, has entered end-of-life hospice care. Struggling to find the words to express his condolences, he attempts to send her a letter. However, once he starts walking to post it, he finds himself unable to stop and, before long, he is on a pilgrimage to the hospice on the other side of the country, meeting characters who he inspires (or takes inspiration from) along the way. Through flashbacks to when he knew Queenie, we learn more about why this journey is so important to him, the grief he shares with his wife Maureen (played by an ever-impressive Jenna Russell), and the impact this has had on their relationship.

While the first act can feel slightly formulaic at times, it is refreshing as an audience member to not be spoon-fed the story and instead to enter the second act filled with questions about the protagonist’s motivations. Not all of these questions are fully resolved: for example, the timeline of the flashbacks remains somewhat unclear. We are repeatedly told that Harold and Queenie knew each other twenty years ago, yet the costuming and chauvinistic behaviour of their male colleagues in these scenes more closely resemble the 1950s than 2006. Nevertheless, the show undeniably grows stronger as it progresses, with the final half hour reaching a pinnacle of heart-wrenching impact.

Passenger’s music is vital to the storytelling and, while several songs feel slightly unnecessary, there are some incredibly strong numbers among them. The songs led by the mysterious Balladeer (Noah Mullins) are a particular highlight, as is the late second act number “Dear Girl in the Garage,” which is heartbreakingly performed by Mark Addy.

Rudd’s production incorporates some truly lovely stagecraft, and the ensemble cast are utilised to great effect throughout, often remaining on stage to watch and react to unfolding scenes. Puppetry is also deployed beautifully, including a characterful portrayal of a dog by puppeteer Timo Tatzberger. Tom Jackson Greaves’ choreography feels entirely in keeping with the tone and energy of the piece, ensuring that movement is seamlessly woven throughout - even between songs - with every prop shift and scene change becoming an opportunity for captivating physical storytelling. Samuel Wyer’s set design works in tandem with Paule Constable’s lighting and Ash J Woodward’s video design to create an atmospheric backdrop to the story. Moments such as blossoms falling from quaking branches are truly stunning to behold, made possible through the combination of their work.

Overall, The Unlikely Pilgrimage of Harold Fry is occasionally heavy-handed in its thematic delivery during the first act, but this is more than redeemed by the second act. It is a beautiful story, stunningly performed. However, audiences would be wise to bring tissues as there wasn’t a dry eye in the theatre by the end of the show.

The Unlikely Pilgrimage of Harold Fry runs at Theatre Royal Haymarket until 18th April 2026.

Photos by Tristram Kenton