Original Novel: C.S. Lewis
Director: Michael Fentiman
Original Writer in the Room and Dramaturg: Adam Peck
Based on the original production by Sally Cookson
This stage version of The Lion, The Witch and The Wardrobe manages to bring C.S. Lewis’s classic story to life in a way that feels part folk tale and part magical fable. The story follows the four Pevensie children, evacuated during the war, who discover the land of Narnia through a wardrobe in a spare room. Once inside, they encounter fauns, talking animals and mythical creatures as they are drawn into a battle between the evil White Witch, who keeps Narnia in perpetual winter, and the great lion Aslan, who represents hope and renewal.
The production leans into the more serious elements of the story, creating an atmosphere where magic sits side by side with threat and danger. The constant underscoring helps maintain this tone and keeps the tension present, although at times it becomes a little heavy-handed and risks distracting from the performances.
The four Pevensie children are well played, each actor capturing the personalities that make the siblings distinct. Lucy’s (Kudzai Mangombe) innocence and curiosity are particularly engaging, while Edmund’s journey from betrayal to redemption is handled with care by Bunmi Osadolor. Susan (Joanna Adaran) and Peter (Jesse Dunbar) are both convincing as the more responsible older siblings, and together the four create a believable family dynamic that grounds the fantasy world in something recognisable and human.
Aslan, played with great presence by Stanton Wright, is a highlight. His performance has a sense of power and nobility, with an almost Thor-like quality that would not feel out of place in Asgard. The combination of his physical presence and vocal delivery makes him a commanding figure, and his arrival in Narnia gives the show real momentum. Another strong performance comes from Alfie Richards as Mr Tumnus, who quickly establishes the character’s warmth and nervous energy, building an immediate connection with both Lucy and the audience. Kraig Thornber as the Professor also makes an early impression, giving the role a clear personality in just a short amount of stage time.
The White Witch, played by Katy Stephens and her Police Captain Maugrim (Shane Antony-Whitely) are particularly effective. Stephens gives a strong and icy performance, making the Witch both intimidating and believable as a character who holds power over Narnia. Maugrim’s presence and his movement around the stage are consistently gripping and give the story its edge of menace.
Elsewhere, the staging makes good use of magic tricks and sleight of hand. These moments are well integrated into the production, adding spectacle without overwhelming the story. They work especially well in reinforcing the magical elements of Narnia and give the audience moments of surprise. Combined with strong performances and a design that reinforces the darker fairy tale tone, the show successfully balances being family friendly with acknowledging the story’s deeper themes.
Overall, this is a truly engaging production. It may not get every choice exactly right – the underscoring could be more restrained at times and the songs are not memorable in themselves – but it creates a clear vision of Narnia that is faithful to the original story while offering something theatrical and distinctive.
Runs until 27th September 2025
