Directed by Mark Kilmurry, this is a gloriously charming piece of theatre.
It’s a stage adaptation by James Roose-Evans of an epistolary memoir by American writer Helene Hanff.
For twenty years, Helene exchanges letters with Frank Doel of Marks & Co booksellers of London.
In their correspondence, Helene and Frank mainly discuss books and literature, but one of the many joys of this piece is witnessing their friendship bloom. Helene is witty and brash, and Blazey Best is absolutely brilliant in the role. Frank is more reserved, more polite, and Erik Thomson offers a superb portrait of this gentle soul. (The two leads are supported by the splendid work of Katie Fitchett, Angela Mahlatjie and Brian Meegan. Employees of Marks & Co, they establish it as an environment of kind-hearted, intelligent bonhomie.)
But are Helene and Frank merely types? Obviously, the script leans into commonly assumed differences between Americans and Brits, and in doing so creates delightful fun. But the contrast between the characters also operates on another level, evoking the special relationship between the USA and the UK. (Currently, a relationship being sorely tested.) The play’s action begins in 1948, and I must admit Helene’s keen awareness of Britain’s post-war destitution brought a tear to my eye. If only such generosity of spirit could be more universal.
The more geo-politically conscious among us will know that the special relationship between the two nations derives from many sources. But here the characters’ personal relationship is based on a shared language and a love of literature. Yes, reread that last phrase. I’ve already made one emotional admission in this review. Now, I’ll make another: I saw the entire first act through the sting of salt. Characters who love words! Characters who read! Characters who know that some of the most life-changing conversations you can have are with those whose lives are now complete, those who have left, in literature, their life-earnt treasure of Beauty and Truth.
You might think that a piece of drama constructed from letters is unlikely to succeed. But here it most certainly does, and joyously so, for the epistolary conceit perfectly captures the piece’s main point: the wonder of the written word.
Paul Gilchrist
84 Charing Cross Road by Helene Hanff, adapted for the stage by James Roose-Evans,
at Ensemble until 13 June
Image by Prudence Upton
Theatre Red 
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