Neil Gaiman's bestselling novel, 'The Ocean at the End of the Lane,' is adapted for the stage by director Katy Rudd at London's National Theatre. Read the review:
), composer Jherek Bischoff, puppetry director Finn Caldwell and costume and puppet designer Samuel Wyer.plies its trade with old-school theatrical trickery , deploying well-oiled trap doors, misdirecting lighting cues or bursts of sound, and mere sleights of costuming to create numerous uncanny effects. It's a magic show in every sense of the phrase.
Crucially, although the fantastical quality is intrinsic to the show and story's appeal, its potency also lies in the everyday realist side of the narrative. The unnamed protagonist, played mostly by Blenkin , is actually first met as an adult played by Justin Salinger .
Indeed, one of the core themes of the play is discrepancy between outer forms and inner beings, and that clearly extends to the vessel of the story itself, one that contains emotional truths grounded in autobiography even if the shape of events is nothing like what happened to the real author.
Rudd and her collaborators find a correlative to Gaiman's gift for finding the menacing within the mundane by using little rhyming motifs throughout. For example, the black umbrellas first met at the funeral that eventually turn into the tattered wings of the "hunger birds," harpy-like figures Lettie lures over to battle Ursula.
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