Adapted from Helene Hanff’s beloved memoir, 84 Charing Cross Road tells the story of a transatlantic friendship conducted entirely through letters between New York writer Helene Hanff and Frank Doel, a buyer at a London antiquarian bookshop.
Spanning two decades from 1949 to 1969, the play is both a portrait of post-war Britain and a nostalgic tribute to a vanished age of thoughtful correspondence, treasured books, and human connection forged slowly through words on a page.
An (almost) love story
At the heart of the production is the gradual evolution of the relationship between the two bibliophiles who never meet. Their correspondence concerns the books that Helene wishes to purchase that are not available in the US and which Frank procures for her.
It begins in the stiffly formal tone expected of business interactions at the time, but over the years, softens into genuine intimacy. Towards the play’s close, Helene writes to Frank, “You’re the only soul that understands me,” while the once-reserved Frank signs off simply, “Love, Frankie.” There is undeniable sweetness in watching these emotional barriers slowly dissolve.
The Ensemble Theatre’s set is simple but evocative: two desks, one in New York and one in London, anchor the stage, while shelves groaning with books and untidy stacks of volumes create the sense of lives immersed in literature.
The costuming also neatly establishes period and character. Frank appears every inch the reserved English bookseller in brown suit, maroon tie, trench coat, hat and pipe, while Helene’s casual trousers and beige cardigan reflect her more bohemian New York sensibility.
Warm comic moments
Moments of gentle comedy highlight the cultural divide between England and America. One of the funniest exchanges comes when the London booksellers – grateful for the care packages Helene posts to the London staff living under post-war rationing – send Helene a Yorkshire pudding. Her unimpressed response is that it resembles a “high, smooth, curved empty waffle.”
Blazey Best throws herself fully into Helene, delivering an authentically New York Jewish accent, though a little grating to my ears. Erik Thomson, one of my favourite homegrown actors, fares less convincingly with Frank’s English accent, which occasionally drifts too close to his own Scottish-Kiwi-Australian tones. The supporting cast of Brian Meegan, Katie Fitchett and Angela Mahlatjie all provide terrific performances.
Ultimately, however, while the production is undeniably sweet and often charming, it never quite becomes compelling to me. I expected to be a little more emotionally moved by this true story than I ultimately was.
84 Charing Cross Road
Ensemble Theatre
1 May–13 June, 2026
ensemble.com.au
