Interview with THE UNLIKELY PILGRIMAGE OF HAROLD FRY's Jenna Russell

We caught up with Jenna to chat about the musical and why audiences need to indulge themselves in this wonderful story in the West End this year.

To begin, can you tell us what The Unlikely Pilgrimage of Harold Fry is about?

The Unlikely Pilgrimage of Harold Fry is about a recently retired man who receives a letter from a woman he worked with 20 years earlier. She’s in a hospice and dying, and she wants to thank him for his friendship. The letter deeply affects him. Instead of posting his letter, he keeps walking until it becomes a pilgrimage. Along the way, he meets people, and others begin to join him.

Meanwhile, his wife, whom I play, is left behind at home, and it’s a very cold house. Maureen’s character goes on her own journey in the show; it’s a quieter one, but a big one for her. I don’t want to give too much away,, but they have unresolved issues in their marriage and are trying to resolve them.

So, this musical is a story of hope, second chances, forgiveness, grief, and finding happiness in the most unlikely places. It’s a very beautiful story.

Jenna Russell, Mark Addy and The Company of THE UNLIKELY PILGRIMAGE OF HAROLD FRY. Photo by Tristram Kenton.

Did you read the book by Rachel Joyce or see the film before stepping into the role of Maureen Fry?

My husband read it long before the job ever came into focus for me. When he finished it, he told me he had read the most beautiful book. He did say that nothing much really happened, but it was about this man, his marriage, his life and that it was gentle but profoundly moving. So it feels full circle in our household, and he loves both the book and the musical. He thinks it's gorgeous.

I started reading the book, and I read quite a lot of it, but then I thought, I’m not going to do this because what happens when you’re working with a source material and in the first initial rehearsal process, you think, 'well, maybe she should say this instead of that'. There are obviously things in the book that you wish were in the show. So I stopped reading the book. Rachel has done a brilliant job of adapting the novel into what it is, while keeping all the essential elements of the book. I’ll definitely return to it once I’ve finished working on the show.

How did you then develop your perception of Maureen into this show?

I’ve gone into the fact that her world is colourless. Her life kind of shopped 20 years ago. We witness how, when Harold isn’t there, she’s still in her everyday routine of keeping her home tidy and in order. But then there is this realisation that no one is there to witness her quiet martyrdom or the way she copes with her grief, which leaves her functionless.

Katie Rudd, our director, has been brilliant in allowing me space and time to inhabit nothing, because that’s where Maureen is. When we were in tech rehearsals, we saw all of these beautiful effects and painted walls at the back that were full of colour - especially in Harold’s scenes! Then, when it came to my scenes, it was just grey but absolutely right for her character.

Have you found it difficult to portray this character because of her journey in this musical?

Oh, it’s fine, it’s only acting. I’ve played some really heavy-duty things, and it’s a great privilege to play these people that are in conflict with themselves or sad, it’s kind of very cathartic as an actor. You don’t take it home. You get into a ritual after the show of putting that character to bed and saying, thank you, I’ll see you tomorrow. Anyway, Maureen does find joy at the end.

So no, I wouldn't say it is difficult. Some things are a bit painful, but that’s the joy of art. You get to express those things and walk in other people’s shoes.

One of the things people have been raving about with this new musical is the added layer of the music by Passenger. How do you think this has developed the show even further?

It’s such a clever idea of the producers to link him up to Rachel’s work. Passenger is a great storyteller, and his songs are so embedded in the genre of British folk music. I believe initially they promised it was going to be 10 songs included in the show, and that would be it. But 35 songs later, we’ve got this finished product. The result is very moving, funny, and there has been a lot of clever work behind it.

Mark Addy in THE UNLIKELY PILGRIMAGE OF HAROLD FRY. Photo by Tristram Kenton.

Staying on the music, do you have any particular favourites?

“Keep On Walking Mr Fry” is a banger. It’s beautifully sung by Jenna Boyd. There’s also “Walk on Water”, which has a gospel feel to it.

The one song that gets me every time is Mark Addy’s song “Dear Girl From The Garage”, which is sung kind of at the end of his journey. It’s where he writes a letter to the girl who inspired the journey he embarks on in the show, and he reflects on what happened in his life, and it's so beautiful. Jeremy Holland Smith, who has created the arrangements, is a stroke of genius, and Mark sings it so beautifully. I defy anyone to come away from hearing that song and not have a very strong emotional response to it.

This new musical, which debuted at the Chichester Festival Theatre, makes its home in the West End opposite one of the oldest shows, The Phantom of the Opera. It must be a profound experience to be part of that transition from a regional theatre to London?

Yeah, especially when we initially performed The Unlikely Pilgrimage of Harold Fry in the little Minerva space, which is so beautiful. I love Chichester. I love that theatre. The people who run Chichester have created a brilliant atmosphere there, and the people who live near it are so proud of their theatre and really support the world-class stuff which happens there.

It’s hard to bring things to the West End. When I started, you would do a show in the Oldham Coliseum that might transfer. But hardly anything from regional theatre comes into town anymore because it's so expensive to do. Our producers have been so loyal to the show, and this is my first time performing in the Theatre Royal Haymarket. It’s beautiful and so intimate, but it's definitely funny coming out of the theatre and seeing people leave The Phantom of the Opera around the same time.

What do you hope audiences will take away after watching this musical?

This show explores the idea that everyone has a burden they are carrying, or we’ve all got difficulties, and we do put a brave face on it. Leading with love, compassion, and listening to one another, it can lighten your load.

I worked in America for a little while, and it was great, but when I came back to London and saw all of these different people, I just thought we’re so brilliantly eccentric in Britain. We have no idea how wonderfully eccentric we are. The Unlikely Pilgrimage of Harold Fry explores those, and you’ll meet all of these characters, and everyone will recognise them, and it will warm your heart. The show will make you cry in a good way. It will give you hope. It will maybe open a door to more compassion that we’re all capable of, especially in these difficult times. Harold Fry is a very cleansing, beautiful thing.

The Unlikely Pilgrimage of Harold Fry is currently booking performances at the Theatre Royal Haymarket to 18 April 2026.