84 Charing Cross Road

In an age where letters have been replaced by likes, 84 Charing Cross Road is a wistful, witty reminder of the deep human connections that can form between people who have never met. Centenary Theatre Group’s production is a gentle, intelligent comedy with emotional resonance and a bookish charm that could warm the cockles of any bibliophile’s heart.

The play follows the lively correspondence between Helene Hanff, a sharp-witted, struggling writer in New York, and Frank Doel, a courteous English bookseller at Marks & Co in post-war London. What begins as a simple transaction soon becomes a decades-long exchange of ideas, humour, and eventually, deep affection. This is not a play of grand gestures, but of quiet accumulations: of trust, admiration, and shared humanity.

Director Alison Lees clearly has a deep affection for this material, and her vision is realised with thoughtful precision. Her direction elegantly balances the play’s gentle pace with emotional heft, giving each moment the space to land without overstaying its welcome.

The staging cleverly resolves the challenge of representing two vastly different spaces: the musty charm of a London bookshop and the cluttered vivacity of Helene’s New York apartment. The richly realised set is both practical and atmospheric, giving the audience a tangible sense of place while also allowing the emotional connection between characters to transcend the physical divide.

Digital set elements are used sparingly but to great effect, offering subtle enhancement without distracting from the nostalgic tone. Lighting and sound design, deftly handled by Brian Hobby and Christian McCreery-Rye, adds texture and rhythm to the performance, helping to underscore the slow passage of time that becomes so central to the play’s poignancy. Costumes provided by the cast themselves are another highlight, capturing the essence of each character and reflecting the play’s timeline with understated grace.

Selina Kadell as Helene Hanff has a grounded presence and sharp timing. Kadell captures her character’s acerbic wit and emotional vulnerability in equal measure. Her performance is at once earthy and luminous, inviting the audience into Helene’s world with irresistible warmth.

Josh Nixon’s Frank Doel is her perfect foil: measured, mannerly, and evolving before our eyes. Nixon brings a quiet emotional arc to Frank with his expressive face speaking volumes even in silence. His chemistry with Kadell despite characters never physically sharing the same location, is believable and moving.

The ensemble cast all deliver strong performances, each bringing distinct personalities to life. Mark Scott as Bill Humphries offers lovely comic moments and expressive nuance, while Narelle McGhee’s Cecily Farr delivers strong accent work and has a charming stage presence. Meg Hinselwood, in dual roles, demonstrates focus and flexibility, rounding out the cast with grace and good humour.

The script is densely packed with literary allusions that may occasionally go over the heads of those unfamiliar with the canon it references. For those who delight in clever wordplay, historical context, and the subtle ache of missed opportunities, it’s a rich feast. And even for those who don’t catch every reference, the emotional heart of the play still beats strongly.

This is a quiet, tender production that doesn’t need to shout to be heard. It invites you to experience a story about friendship, literature, and the quiet power of connection. It’s a reminder of the fleetingness of life, and the importance of not delaying the dreams that matter. If you’re a lover of books, history, or theatre with wit and heart, 84 Charing Cross Road is worth a visit.

Kitty Goodall

Photography by William McCreery-Rye and Julie Collins