The Unlikely Pilgrimage of Harold Fry review: A joyous, uplifting celebration of love and friendship
Published on 11 February 2026
Harold’s journey to the West End has been a pilgrimage in itself, starting life as a bestselling novel (written by Rachel Joyce) before venturing onto the big screen (with Jim Broadbent), it then moved south for a critically acclaimed stint at the Chichester Festival Theatre, eventually pitching up at the Theatre Royal Haymarket. It may have taken a while to reach its latest destination, but it's been more than worth the wait for those who can get to SW1Y 4HT (we’d recommend taking the Bakerloo Line or the 453 bus for those wishing to save their legs for a standing ovation at the end - which, spoiler: you’ll want to do). The heartwarming show is a joyous, uplifting celebration of love and friendship - just remember to pack your tissues, and your travel sweets, for this emotional journey.
It may only be Harold’s name in the shows’ title, but this charming production is an ensemble piece through and through. On stage throughout, the talented troupe go the extra mile to create magic in front of your eyes; conjuring characters mid-air, clothes on a washing line are transformed into a much-missed man, gilets are thrown on for a field of sheep, arms extended to create doors and signposts. The everyday becomes magical and whimsical - though Harold (Mark Addy) silent and sullen for the majority of the first act, is oblivious to it all.
The story starts with a single step, an abandoned journey to a car. Noting that it is, indeed, ‘nice weather for it’, Harold decides to walk to the nearest postbox to drop off his letter. When he gets there, however, he walks past, continuing with the missive until he reaches a petrol station. Emboldened by the Garage Girl’s (Nicole Nyarambi ) advice (and gospel inspired carwash routine) he decides to personally deliver his correspondence to his friend Queenie (Maggie Service), who lies in a hospice bed in Berwick-upon-Tweed, 500 miles away. Full of regret for how he treated his friend, and reflecting on his life since he last saw her, he sees the journey as penance. Little does he know that for every callus and blister gained, his hard eges soften, and old wounds are healed.
Harold is joined by a series of colourful characters throughout the show (a doctor-cum-contract-cleaner with a potty mouth in need of some of her industrial soap, a tap dancing sugar daddy, a crystal seller and an American influencer obsessed with Jane Austen to name but a few) but The Balladeer (Noah Mullins) is by his side throughout. He embodies Harold’s inner voice, and represents other characters Harold feels he’s let down. Mullins’ performance is otherworldly: ethereal, compelling, and emotionally precise. It’s astonishing to think this is their West End debut, a star very much in the making.
While this may not be Jenna Russell’s (Maureen Fry) debut, her performance feels as fresh and raw as ever. Her solo, "Tin of Soup for One", is quietly devastating, and brings a tear (okay several) to the eye. Alone in the house, Maureen reflects on her marriage, drifting between grief and happier memories with aching clarity. It’s a deeply affecting moment that brings this woman, who seems to be sidelined from her own life, as well as Harold's pilgrimage, into the spotlight.
The music, composed by Brit nominee and Ivor Novello Award-winner Michael Rosenberg (Passenger), accompanies the story throughout. Melancholic folk from the onstage musicians underscores the action, giving quiet moments space to breathe and emotional beats room to land. His folk-inspired songs are packed with heart, honesty and are deeply human. Highlights include “One Foot in Front of the Other” and the closing number, “Here’s One for the Road”.
Tender, feel-good, and deeply uplifting, The Unlikely Pilgrimage of Harold Fry is a reminder of the power of human connection and the courage it takes to keep going. It will leave you walking on air.
Walk, don’t run, to the Theatre Royal Haymarket.
The Unlikely Pilgrimage of Harold Fry plays at the Theatre Royal Haymarket until 18th April 2026.
