Talk of parasocial relationships is all the rage right now and one would not have thought that Ensemble Theatre would be the company to be taking the lead on this but with their production of 84 Charing Cross Road, the idea of the parasocial relationship is in full view, just perhaps in a different way to what one would initially think. 

Adapted by James Roose-Evans from the novel of the same name, the play explores a relationship between Helene Hanff and Frank Doel, the latter of whom manages a quaint bookshop in London. Through their letters they begin to grow closer, as Hanff orders a number of rare books from the shop and slowly begins to reveal more about her life and her musings to Doel, who in turn responds with epithets from his own life, with vignettes from the other members of the shop interspersed into the narrative. However, the two never meet, so the relationship is solely through letters, with both growing very protective of the relationship. In many ways, this is like the social media relationships of today, giving the play enduring relevance for everyone in the theatre. 

The audience is immediately welcomed into the Ensemble Theatre by Nick Fry’s charming set and costuming, with books lining the shelves and ceilings of the theatre, as Hanff and Doel are placed diametrically opposed to each other on the stage to show their distance, even though there is very little actually separating them. As the play progresses, we begin to learn more about both the characters, revealing their loves and at times their loneliness and vulnerability as they navigate two different worlds, one in post-war England and the other in America, each facing their own challenges. What binds them is a love of life and a love of books and what seems like a simple tale on its face actually ends up becoming incredibly powerful.

Erik Thomson does an exceptional job as Doel, bringing class and a real warmth to the role. Blazey Best also does a great job as Helene, pushing the boundaries a little in her acting and in her accent, but overall doing a superb job of providing a nice contrast to Thomson’s Doel. Their colleagues, played by Katie Fitchett Forde, Brian Meegan and Angela Mahlatjie, are also very strong, bringing genuine joy to their roles in the fleeting moments when they are on stage. Mahlatjie in particular is fantastic and given her strength, it definitely felt as though she could have had even more spotlight in this production. 

What is particularly interesting about this play is the emotion that accompanies it, with the audience really empathising with the love of the two leads, even if they themselves may not see it that way. The relationship between Doel and Hanff would likely be described as an emotional affair in modern parlance but in this context, it feels quite charming and wistful as the two begin to share genuine affection up until the end of the production, which actually ends up being quite cathartic in spite of some sadness. While the play is a little bit long and drags in its first act, it really packs a surprisingly emotional punch at the end and brings the audience in with it as it hits its climax, leaving them with a lot more than they bargained for. 

Overall, this is a really charming and beautiful story, which is exceptionally executed by this cast and by director Mark Kilmurry. This play typifies everything that the Ensemble does so well, bringing heart and joy to a classic tale with phenomenal execution and really punching above its weight. If there was ever a play that could represent the Ensemble experience, it is this one. This is a great watch and one that will leave audiences thoroughly entertained and with a smile on their face, as this really does bring out the best in the human spirit. Definitely one of the more beautiful plays this year.

Rating: ★★★★1/2

84 Charing Cross Road plays at the Ensemble Theatre until 13 June. For more information, click here. 

All photo credits: Prudence Upton