I read this famous book many years ago and from what I remembered (correctly as it turned out) it is a long and rather complicated story, so I was intrigued to find out how it would translate to the stage. The answer is, in the hands of the Apollo Players, extremely well.

The set gives a clear indication of the geographical scope, with luggage piled along the back of the stage and a backdrop of graffitied place names ranging from San Francisco to Yokohama to London, and a centrepiece screen onto which is projected background scenery interspersed with hints as to where we are – and what is going to happen next. All of which not only covers the parts of the story hard to portray on stage (sleigh ride anyone?) but keeps the audience up to the rapid speed of the storyline. Having said that, they do manage to cleverly portray the elephant ride onstage…

Another support to the story is the great use of sound effects and music, both to tell the story and contribute to the atmosphere. There are few actual stage sets, most of which are movable and designed to be flexible in use – the set designers, backstage crew, lighting and sound technicians are always a key part of any production but they deserve more than the usual plaudits here: so step forward Phil Cardew, who designed the set; Paul Jennings and the set construction team; Dan Burns for designing the sound, lighting and video, and his team of operatives who made sure it was all timed so well.

Stage management, led by Tyler Frankling, was slick and supported the pace of the piece. The costumes were also remarkable both for the sheer number and the suitability of outfits to illustrate the geographical locations across the world: Liz Santer and her costume team are to be congratulated. The ensemble too must be congratulated for taking on multiple roles involving swift costume changes; different accents and characters; dance and movement – true teamwork from start to finish and a good backdrop supporting the main actors.

Aaron Townsend was well cast as Inspector Fix, who, convinced that Phileas Fogg is a bank robber, pursues him across the globe, foiled again and again in his attempts to arrest him – though he does succeed in upsetting their travel plans….. Ruby Beaman is a sweet and gentle Aouda, rescued by Fogg and later his love interest. The scenes between the socially awkward Fogg and the shy Aouda, as they struggle towards revealing their feelings for each other, are wonderfully played.

The play rests however on the skills of the two main characters, Phileas Fogg and his valet Passepartout, and both characters are perfectly cast, the actors skilfully bringing out the character contrasts and relationship. Pete Stockman is a brilliant Passepartout: worldly, with perhaps a questionable past, and now – he thinks – happy to live a quiet, peaceful, possibly quite boring life with his new master; yet more than ready when adventure calls, and more than capable of getting them out of (most of) the scrapes they inevitably fall into.

In complete contrast, the brilliantly portrayed Phileas Fogg is a Victorian gentleman of routine, every day exactly the same, until a bet at his gentleman’s club sets him off to prove one can indeed travel ‘Round the World in 80 Days’. Fogg could easily come across as boring and emotionless, yet from the start Jason Harris skilfully brings out his humanity – a kind smile for the lady from whom he daily buys his buttonhole flower – and as the play progresses we see his vulnerability and an innocence of the world which contrasts with Passepartout, so that underlying the traditional Victorian master/servant relationship there is a more equal reliance on each other. For me, the onstage chemistry between the two main characters is a key element, lifting what could be just a plot-driven narrative into a richer place.

The directing team of Amy and Dan Burns can be very proud of themselves and their team of cast and creatives who together take us on a real journey – Around the World in 80 Days.

There is still time to see the show – it runs from Tuesday to Saturday this week, 7.30pm at The Apollo Theatre and tickets are still available from WHAT’S ON | Apollo Theatre (apollo-theatre.org.uk)