"Ocean At The End Of The Lane" A National Theatre production.

Nottingham Theatre Royal.

Based on the novel by Neil Gaiman, I've heard nothing but good reviews from people who I know have seen this production at Leicester's Curve Theatre, so I couldn't wait to see the production, here in Nottingham. Let me just say, everything that I had heard was true and then some!

Returning to his childhood home, a man finds himself standing beside the pond of the old Sussex farmhouse where he used to play. He’s transported to his 12th birthday when his friend Lettie claimed it wasn’t a pond, but an ocean… Plunged into a magical world, their survival depends on their ability to reckon with ancient forces that threaten to destroy everything around them.

It is a story about grief, loss, friendship, memory, exploring relationships all set in a fantasy, sci-fi setting. But, basically this is a story about a lonely, mistreated boy who came into conflict with his family, and then buried his memories of this time for decades.

The story is told through the mind's eye of a child's imagination where nightmares lurk and demons and monsters infiltrate real life - or are we still in imagination mode? The demons shapeshift constantly.

Trevor Fox plays The Dad, the character who starts the show off, as he has just come from a funeral, and on the way to the wake decides to stop off at the old duck pond, where he bumps into Old Mrs Hempstock.

There's a disturbing piece concerning The Dad and The Boy, which causes an intake of breath, and that action soon becomes clear why it happened. Some really good schizophrenic scenes played out by Trevor. Only one thing I did spot though and that was with the Geordie accent. Every Geordie I know says "fill-um" for film, but maybe Dad is a posh Geordie.

Keir Ogilvy plays The Boy, as he is known throughout, who makes friends with Lettie Hempstock, the daughter of the family who work the ancient farm near his home. There are various scenes that remind me slightly of ones in "The Curious Incident Of The Dog In The Night Time", mainly the slow-motion scenes where Boy is transported through the air. This is a very physical role and Keir doesn't even break a sweat such is his agility and physical fitness needed for this style of physical theatre. Playing a twelve-year-old boy cannot be easy but Keir, by the end of the play, makes you believe that who you see on stage is of that age, just tall for his age.

Laurie Ogden plays the Boy's perfectly petulant sister, complete with that whiny little sister type voice, who's easily led by the lure of food and money by the new lodger, Ursula. The exit of the previous lodger is explained at the start just in case you wanted the complete back story.

Charlie Brooks plays Ursula, Dad's new lodger. And just when you think everything is going well in the household, the children get to see a very different side to Ursula, but only Boy realises what has happened. Charlie is incredibly scary as Ursula, and by the magic of theatre appears and disappears and then reappears at the other end of the stage or through a different door. Ursula shapeshifts and can fly, and let's face it, if you're a twelve-year-old who is troubled, seeing all of this, and knowing what power she has over the rest of your family, wearing brown pants is advisable.

I have had the pleasure of seeing Charlie on stage a few times and know what a marvellous stage actor she is. I've also had the pleasure of interviewing Charlie and she is one of the loveliest actors, which is why when you see her play a role such as this, you know that she is having fun because the role is so different to what she is like in real life. This role, for the audience member, is the stuff that nightmares are made of!

Mille Hikasa plays Lettie Hempstock, along with her mother, played by Remi-Bo Jacobs, and her Grandmother Old Mrs Hempstock, played by Finty Williams, have a way of keeping dark and evil forces at bay and centres on a pond on their farm land, which Lettie calls her "ocean". Boy struggles against these dark forces, which find a way into his life, in the form of a wicked stepmother figure.

This trio are like the Mighty Avengers, and what special powers they hold. There's a lot of comedy going on with this family which makes you warm to them straight away; that and their individual characters, but wait for the twist at the end!!

There's an incredible ensemble in this play who do everything else including scene changing, prop management, playing scary monsters, making Boy fly, elevating Dad and generally scaring the living daylights out the audience. They also create the most realistic and massive ocean waves I've seen on stage. They bring the magic to life.

Directed by Katy Rudd who has amassed an incredibly talented cast and made the unbelievable, believable while putting an audience right at the edge of their seats.

I don't normally get to mention Movement Directors but this is one play that, among every other strength, has an important sense of movement for the characters, creating much of the magic. Steven Hoggett needs to be mentioned for creating such a fluid sense of movement throughout this play with this cast.

The set design is by Fly Davis. He makes us believe that we are in a forest setting, on a farm, in a farm house, in a bathroom, in a kitchen, all with just sliding in and out various props, and all the time being surrounded on stage by a forest setting worthy of any Harry Potter woodland, drawing our eyes to what he wants us to focus on every scene.

As it's set in the 1980's there is a wonderful musical score reminiscent of that period with rock synths aplenty thanks to Jherek Bischoff. This sweeping soundscape enhances the senses and creates atmosphere, especially in the scenes where the devils and demons appear.

Sam Wyer’s puppets are wonderful, and at times simply breath-taking. I sat with my mouth open all the way through the scene where Boy and Lettie are "in the ocean". the attention to the physicality of swimming was perfect.

Another vital part of building up the dark side of this play is the lighting design, by Paule Constable. All the lighting cues had to be spot on to get just the right effect, and they were. It's got to be one of the most effective lighting designs I have seen for a long time, and that is part of the reason, I think, that this play is such a success with audiences. Shock factor at its' best.

I love a play that has magic and illusions in, and this play has its' fair share, and Jamie Harrison's talents are easy to spot, unlike the transitions of his illusions, which will have you completely spellbound.

There is absolutely nothing, not to like in this play. Every single second was packed with watchability value. It's like watching Harry Potter the first time around but better because all of that magic, the illusions, the scariness is there, right in front of you, and I loved it, and you will too. I don't think it's one for all the family because of the sense of threat. Pure magic!

"The Ocean At the End Of The Lane" is at the Nottingham Theatre Royal until Saturday 17 June.