The best magic tricks are not a simple case of getting from A to B: magician takes off his hat, and then pulls out a rabbit; trickster removes a card from his deck, and it is miraculously yours.
No, behind the best conjuring is so much more. It is not the trick itself that is magic; it’s the impact.
Magic requires attention and anticipation, pathos and performance, wows and wisecracks.
And beauty. Magic turns the ordinary into the extraordinary, the natural into the supernatural, and the seemingly inhuman feats shine a light on what it is to be human.
The Ocean at the End of the Lane is magic at its purest: a dazzling array of theatrical magic.
The National Theatre has transformed Neil Gaiman’s fantasy novel into a stunning production that leaves the audience utterly spellbound.
From the casting to the staging, the writing to the direction, the result is an exquisite, fantastical tale where imagination is limitless.
A man (Trevor Fox), who remains nameless, is grieving for his father, and whilst in a daze following the funeral, he returns to his hometown - and to Hempstock Farm.
It is a familiar place from his childhood, and yet he cannot quite grasp those memories from his past; not forgotten, per se, but just out of his reach.
When he encounters the mysterious Old Mrs Hempstock, charmingly played by Finty Williams, who is arguably the star of the show, the memories start to flood back to him. And the story begins in earnest on his 12th birthday in 1983.
After a dark and deadly event, involving a lodger at his familial home, the Boy (Keir Ogilvy) meets the eccentric Hempstock family: the aforementioned Old Mrs Hempstock, the maternal Ginnie Hempstock (Kemi-Bo Jacobs), and the seemingly young girl, Lettie (Millie Hikasa).
This ancient farm with its ancient inhabitants, with a duck pond that’s described as an ocean, begins an amazing adventure for the Boy and Lettie - where dreams are real, and more importantly, so are nightmares.
The staging for this production at the Lowry is simply stunning. The illusions are breathtaking, the costumes, props and set are phenomenal, and the choreography is timed wittily.
The direction from Katy Rudd is incredibly clever, turning a barren stage into a world of witches, monsters, and pure wonder.
The faithful adaptation of Gaiman’s novel hauntingly and beautifully explores childhood, grief, family, and relationships, whilst taking you away to a dark and magical place.
Leading you on this fantastical story are the brilliantly paired Ogilvy and Hikasa, as the leads. They exude childhood imagination, fascination, and insecurities.
Eastenders star Charlie Brooks is clearly having a hoot as the villainous Ursula, aka the Flea. It would be very easy to stray into the realm of pantomime with this role, cackling laugh an’ all, but she manages to deliver a considered and deliciously evil performance.
The Ocean at the End of the lane is the perfect fairy tale for teenagers and the older teenagers amongst us. It is a thrilling, darkly funny, and occasionally scary ride.
The most effective and expertly crafted fairy tales are the ones that challenge and terrify kids; so be warned, it might not be suitable for the more nervous and anxious of our younger ones.
And like the magic tricks that stay with you forever, the spectacle stays behind the auditorium.
The standing ovation was rightly deserved after the theatrical phenomenon, with the Salfordians completely under its spell.
On until Sunday 8th January 2023.
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