![]() ![]() Gaiman reminds us that knowing how, what and whom to believe are key challenges growing up. Gaiman reveals, in a programme essay, that the story’s “interior landscape” is autobiographical, and it is this landscape that is externalised, with bold theatricality, by director Katy Rudd, lighting designer Paule Constable and a new cast. Throughout, designer Fly Davis honours the idea that what is imagined is as much about terror as salvation. His mother has died, the lodger has killed himself in a car crash and a woman with designs on his dad has moved in.Ī black backdrop renders the domestic scenes unconventional (even the toast is reliably burnt and smokes hellishly). ![]() James Bamford plays Boy, a bookworm who reads to escape his broken family, with nervy zeal. This scarily arresting production opens on a glittery black thicket, arching over a wide aisle of stage that leads nowhere. ![]() Neil Gaiman’s novel for young adults was published in 2013 and Joel Horwood’s adaptation was a hit for the National in 2019 – the transfer to the West End put on hold by the pandemic. This makes for an unsettling family show and not one for the fainthearted (or the under-12s). W here is the border between real and imagined? In The Ocean at the End of the Lane, imagination cannot be trusted. ![]()
0 Comments
Leave a Reply. |