York Theatre Royal is no stranger to The Secret Garden, having staged a well-received play in 2018. This time, however, it returns in musical form – bringing with it a sense of homecoming.
Director John Doyle, artistic director at the theatre from 1993 to 1997, returns with a clear affection for the space and a thoughtful vision for bringing this literary classic by Frances Hodgson Burnett to life. There’s a quiet sense of full circle, both in the story and in Doyle’s return.
As you enter the auditorium, the set appears deliberately stark and unfinished. Piles of suitcases form platforms, wooden desks double as instruments, and drapes hang in waiting; all poised for transformation. It’s a design that mirrors the narrative: something closed-off and fragile, gradually opening to reveal warmth, growth, and possibility.
The famous tale follows Mary Lennox, sent to Yorkshire from India following the death of her parents, ready to live with her reclusive uncle, Archibald, who is himself consumed by grief following the loss of his wife. At its heart, a tale of healing and belonging.
Estella Evans (alternating with Poppy Jason) delivers a strong and assured Mary, headstrong, guarded, yet quietly yearning for connection. Her vocals are expressive and assured, carrying the emotional tide of the piece with confidence. She is well supported by a consistently impressive ensemble.
This production leans heavily into its identity as an actor-musician led show. The cast not only perform but underscore the entire show, creating a stunning musical landscape. From the moment the score begins, it flows almost without pause; a gentle, immersive current that carries the audience through the story.
While Lucy Simon’s score may not leave you with a soundtrack on repeat, its beauty lies in its texture and delivery. A floating double bass, a delicately woven harp and a subtly integrated piano create an atmospheric environment that favours stillness and precision over large-scale movement. It’s a stylistic choice that feels simple but intimate.
As Mary’s journey unfolds, she encounters many spirits, both living and beyond, who deepen her connection to the mysterious garden. Among them, Catrin Mai Edwards’ warm and grounded Martha and Elliot Mackenzie’s spirited Dickon bring much-needed lightness and humour, offering moments of relief within the production’s more measured pacing.
A standout musical moment comes in ‘Lily’s Eyes’, performed by Henry Jenkinson (Archibald) and André Refig (Neville). It is a beautifully restrained duet, rich in harmony and emotional depth, capturing the weight of lasting, unresolved grief. This theme is further echoed in Dexter Pulling’s Colin, who reflects the strain and isolation that loss can impose on relationships.
However, while the production itself is handled with care and clarity, the material occasionally feels as though it holds something back. With a one-act runtime of under 90 minutes, the story doesn’t always have the space it needs to fully develop. At times, it feels as though we are only just beginning to see it bloom before it is brought to a close.
That said, this is undeniably a beautiful piece of theatre. There is something gently restorative in its stillness, a welcome pause from the noise of the outside world. It may not overwhelm, but it quietly resonates.
For those seeking thoughtful storytelling and the undeniable skill of actor-musicians at the top of their craft, The Secret Garden offers a delicate and reflective experience. After all, at its core, this is a story about belonging, and here, it finds a place to grow.
The Secret Garden is at York Theatre Royal until Saturday 4 April. Tickets start from £15 and are available via the York Theatre Royal website.
