Top Reasons to See The Unlikely Pilgrimage of Harold Fry at the Theatre Royal Haymarket
Published on 19 March 2026
Summary
- See our top reasons to catch this heartfelt and understated new musical in the West End.
- Discover standout performances from Mark Addy and Jenna Russell, plus a powerful score by Passenger.
- Find out why The Unlikely Pilgrimage of Harold Fry is one of London’s most talked-about theatre hits.
If you’re not familiar with the story, The Unlikely Pilgrimage of Harold Fry begins with a simple act. Harold, an ordinary man living a quiet, routine life, receives a letter from a former colleague he hasn’t seen in years. She’s dying, and writing to say goodbye. He pens a (rather taciturn) reply, sets off to post it… and just keeps walking. What follows is a journey from Devon to Berwick-upon-Tweed that becomes far more than he ever intended. Playing until Sat 18 April at the Theatre Royal Haymarket here are our top reasons not to miss it.
First up is how refreshingly different it feels from a lot of what’s currently in the West End. There’s something very understated about the whole piece; it’s not trying to dazzle or show off, and that works in its favour. It feels genuinely wholesome, but not in a cloyingly twee or overly sentimental way, more in the sense that it’s sincere and grounded.
That also extends to the music by Passenger. If you’re expecting a gentle, folky score throughout, it actually goes further than that. Alongside the quieter moments, there are some unexpectedly powerful ballads that really land, those proper goosebump moments that catch you off guard and let the brilliant Jenna Russell (who has played Fantine in Les Miserables and the Baker’s Wife in Into The Woods) really flex those vocal chords.
Casting is obviously a big draw. Mark Addy leads as Harold, and there’s something special about seeing such a familiar screen actor in this kind of role. Known for the gruff and disillusioned Robert Baratheon in Game of Thrones along with his role in The Full Monty, he brings a grounded, unshowy quality to a character who doesn’t always have the words to explain himself in Harold Fry.
That idea; of not having the words, is a big part of what makes the show interesting. At its core, it’s about male inarticulacy: a man who can’t quite express what he feels, and various relationships shaped by years of things left unsaid. Instead of big, declarative moments, the story lets actions do the talking. Harold’s walk becomes a way of processing everything he hasn’t been able to say out loud, which is an unusual focus for a musical, but it works.
Another reason to see it is Jenna Russell’s performance, which brings far more depth to Harold’s wife Maureen than you might expect at first. While Harold is off on his journey, it would be easy for her to feel like the character left behind, but instead, the show gives her a story of her own.
What begins as a sense of confusion and rejection (why is my husband leaving me to traipse the length of the country to see a dying, female ex-colleague?!) gradually shifts into something more reflective. Through memories of how she and Harold first met and fell in love, you start to understand the life they’ve built, and what’s been lost along the way.
But it doesn’t stop at looking back. Maureen’s journey becomes about turning inward and rediscovering herself, returning to the things she enjoys, from gardening to cooking, and slowly placing herself back at the centre of her own life. It’s a subtle but powerful arc, and one that gives the show an added emotional layer. Those moments add a real tenderness to the piece, grounding it in something recognisable and relatable by exploring how people can become utterly unravelled by grief and what they must do to find their way to back themselves, and to each other.
Another reason to see it is the strength, and sheer variety, of the supporting cast, who bring so much colour and surprise to Harold’s journey. Noah Mullins is a real standout as the Balladeer. There are also some brilliant individual scenes from across the ensemble. Jenna Boyd’s Sister Philomena gets a proper standout moment, while Nicole Nyarambi (as Garage Girl) absolutely owns her solo, it’s one of those songs that really lands and lifts the energy in the room. And then there are the full company scenes, which go in directions you don’t necessarily expect. One sequence in particular, with the cast transforming into a kind of stylised, glittering car wash, is completely unexpected in a show that leans more folk in tone, but it added another playful dimension, and a reminder that this isn’t a one-note piece; it’s got a few surprises up its sleeve.
If you loved Rachel Joyce’s book or the film adaptation starring Jim Broadbent and Penelope Wilton, we can safely say the stage version keeps that same emotional pull and seeing that unfold live gives it an added immediacy. It’s also a second chance to catch it if you missed the Chichester run last summer, which built a strong reputation before transferring to the West End. This feels like a show that’s found its audience through word of mouth as much as anything else.
At its core, the show really dives into the notion that some things are just bigger than ourselves and how people come together to find meaning and seek out a sense of belonging. As Harold walks, the outside world starts to creep in. Strangers take an interest, some even joining him, each projecting their own reasons onto what he’s doing. It taps into that idea of wanting to be part of something, of looking for just a sense of direction, and how easily people can attach themselves to a story. A la Forrest Gump, Harold Fry becomes a kind of symbol; people see what they need to see in him, whether that’s hope, purpose, or simply a reason to keep going.
Although Harold Fry is a very individual production, if you were a fan of The Curious Case of Benjamin Button folk musical, there’s a similar appeal here. It’s British, slightly offbeat, and rooted in emotion rather than spectacle, with a central character you don’t always fully understand but want to follow anyway.
More than anything, it’s a story about small decisions turning into something much bigger. A letter, a walk, a reason to keep going. I found it to be reflective and sweetly uplifting. A thoroughly wholesome night out
Book your tickets to The Unlikely Pilgrimage of Harold Fry today. And don’t forget, if you book by 29th March, you can save yourself 41% on all performances between 20 March - 18 April 2026.
By Hay Brunsdon
I've over 15 years of writing and editorial experience, and starting working in the West End theatre industry in 2012. When not watching or writing about theatre I'm usually swimming, hiking, running, or training for triathlons in the Stroud valleys.