George is a postman, so it’s his job to make sure the letters get to their rightful owners - all the letters. Having been promoted recently to the sorting centre, our hero discovers the Dead Letter Office, where the undeliverable letters go. And thus, his quest begins.
Starting with a letter for an old friend of the family, he becomes obsessed with getting the lost letters delivered; with seeing people open them, with receiving their thanks, and with feeling he is putting the world to rights. But this journey is not all smooth going, and not everyone necessarily wants their past returned.
The costumes, the props and the physical theatre are all so cleverly done. Over their costumes, the actors wear hazmat suits with hoods up, down or off, clearly delineating between scenery, postal workers and characters. It’s an extremely clear device and really helps the flow of the piece. Simple drainpipes, meanwhile, function as trains, doors and sorting trays - and the whole cast move seamlessly between roles and scenes, drawing the audience in.
But the majority of the play focuses on George's physical journey. While the content of the letters is referenced, we see only two people's reactions to receiving them. I feel there is too much emphasis on his quest, and not enough on its ramifications - especially given the play’s programme blurb. It’s a great shame, as the ingenious physical and visual elements of the story would surely have extended wonderfully to cover the recipients’ responses and the aftermath.
But still, this is a well-presented, well-performed piece, which gets you thinking. It has a full and interesting plot, which just needs to find a more satisfying balance between its elements.