Michael Fentiman’s production of The Lion, The Witch and The Wardrobe invited children and adults alike to enter the whimsical world of Narnia through an enchanting and mesmerising production that made its way to Festival Theatre on 13-17th May. This adaptation of C. S. Lewis’ universally cherished children’s novel immersed the audience in this magical world, with a visual and sonic spectacle.
The performance began before the audience had even finished taking their seats, with the wartime setting being instantly established, as an officer in uniform played piano. Seamless transitions within seconds saw the audience flit between the mystical bewitching world of Narnia and the real world. The audience travelled with the Pevensie family across realms, with transitions marked by the whirlwind movement of wardrobe pieces. Under Tom Paris’ imaginative set design the stage became a three-dimensional clock face, manipulating realms of time and space. Alongside wartime props transporting the audience to the 1940s, Jack Knowles’ futuristic lighting blurred boundaries of reality.
The actors of the Pevensie siblings were all instantly recognisable as their respective characters. Kudzai Mangombe as Lucy captivated the audience from the very start with her portrayal of Lucy’s childlike innocence and bravery. Bunmi Osadolor as Edmund conveyed the depth of his character, seeming childish and immature at the beginning but becoming fiercely loyal. The close-knit bond between the siblings came at the forefront of this reimagination of the classic novel. Katy Stephens as the cold and menacing White Witch commanded the stage with her hypnotising presence.
In what felt like a love letter to fans of the novel, the production focused on small details in paying homage to C. S. Lewis’ books. The audience encounters animals such as the Red Squirrel and Blue Badger, with their individuality expressed through dance as they twirled across the stage. Kraig Thornber charmed the audience with his eccentric and endearing portrayal of The Professor. Toby Olié’s intricate puppetry allowed beloved animals to come to life in front of wonderstruck faces of children. We meet the mysterious and endearing cat Schrodinger as well as the regal and larger-than-life Aslan who was dually portrayed in human and animatronic form.
The production’s darker edge at times overshadowed its innocence. Some violent scenes, made more intense by the lighting and sound design, were too extreme for what is, at heart, a children’s story. The White Witch’s henchmen were unidentifiable masked creatures of torment, adding to the undeniably frightening portrayal of the antagonist herself.
The moving orchestra brought the whimsical and enchanting world of Narnia to life – in following the characters the musicians became a part of the action themselves. Whilst the continuous orchestral accompaniment added to the mystical atmosphere of Narnia, the production felt undecided as to whether it was a musical, with infrequent songs dotted throughout the show.
What is a grittier take on C. S. Lewis’ classic novel nevertheless dazzles with an immersive spectacle that lets the audience experience the magic of Narnia before their very eyes.
Image by Matt Crockett via Capital Theatres