We sat down for an exclusive interview with Noah Mullins who plays The Balladeer in The Unlikely Pilgrimage of Harold Fry.
This show runs until 18th April 2026 at Theatre Royal Haymarket – Tickets here
First of all, congratulations on your West End debut! How does it feel to be stepping onto a West End stage for the very first time?
Thank you so much! I am so excited to be joining the original West End company of TUPOHF. I have wanted to work in the West End my whole life, and I couldn’t think of a better way to start than with this incredible company, led by Katy Rudd. I’ve seen a few productions at the Theatre Royal Haymarket, and it feels pretty surreal to be working in such a gorgeous theatre at the moment.
How would you describe your journey into musical theatre so far?
My journey into musical theatre started when I was very young. My mum and dad did amateur theatre back home in Australia, in the Blue Mountains, and I would sit and watch them during rehearsals and performances, singing along. One opening night, when I was four, my mum (who was choreographing a community Christmas show) realised I knew the production better than all the other kids and threw me on stage that night. Since then, I’ve had the privilege of working in Australian theatre straight after finishing high school, beginning with the Opera House production of West Side Story, and I have been working ever since.
How would you describe The Balladeer’s role in Harold’s journey, and in the audience’s experience of the story?
The Balladeer is the storyteller of TUPOHF, a somewhat mysterious figure. He weaves in and out of the show, keeping the audience oriented within the story. He guides the emotional tone of the piece and uses the ensemble to build the world around Harold as he embarks on his journey. The Balladeer’s purpose is to ensure Harold’s pilgrimage is successful, and he will do so at all costs.
The song ‘Rise Up’ is such a powerful introduction to your character. What does that song mean to you personally?
Rise Up is a beautiful song written by Passenger and composed by Jeremy Holland-Smith. It introduces our story and brings the audience up to date with where we find ourselves at the top of the show. The Balladeer is an ethereal, almost all-knowing figure who exists on another plane and can see that Harold is stuck. Like a spirit guardian, he commands Harold to rise up and make a change in his life. I think this song carries a powerful message that returns throughout the production and stays with audiences long after they leave.
From West Side Story to Hadestown to Rent, you’ve played some emotionally rich roles. How has your relationship with storytelling evolved?
Every production I’ve had the privilege to work on has taught me so much about how we choose to tell stories. West Side Story taught me the importance of movement and how we emote through it. Rent taught me how to connect with an audience and guide them through the story each time Mark breaks the fourth wall. Hadestown taught me how to bring mythology to life and find something real within the magic of world-building. My relationship with storytelling is consistently being challenged with every job I’m fortunate to be a part of, and I’ve learned to stay present and listen to what the work is asking of me. All of these tools I’ve gained over the years apply directly to the Balladeer.
What do you hope people carry with them when they leave the theatre after witnessing The Unlikely Pilgrimage of Harold Fry?
I hope everyone leaves the theatre feeling a little more empathetic toward one another. You never know what people are going through, and we all lead immensely complex lives. If we can all lead with a bit of kindness, the road might be a little easier.