Based on the novel by C.S. Lewis
Based on the original production by Sally Cookson
Director: Michael Fentiman
Ever since its first release in over seventy years ago, avid readers of C.S. Lewis’ Chronicles of Narnia have been desperate to be immersed in the fantasy realms of Narnia and all the magic that it conjures. Luckily for modern readers, Michael Fentiman’s enchanting direction of Sally Cookson’s original production absolutely charms, transporting us into Lewis’s fictional world.
It is a well-known and well-trodden story. Evacuees Peter, Susan, Lucy and Edmund are whisked to Scotland, taken in by the Professor in his unusual yet grand home. This production, paced perfectly, whizzes through the settling-in process, giving just enough time to help us understand the nervousness of the children before they eventually stumble into the realm of Narnia. Once there, the children face danger from the White Witch, protected by the strong lion Aslan in their hunt to return Narnia to its former glory, end its endless winter and save the turned-to-stone Mr Tumnus. It is a production which does well to balance the darkness of the material, in its bleak and brutal moments, with the whimsical spectacle of Narnia and all of its magic. The blending of songs, dance, dialogue and live magic combines beautifully in this mesmerising stage adaptation.
The four evacuees are brought to life on stage well by their respective performers, all of whom waste no time to quickly creating the essence of each character. Jesse Dunbar’s strict Peter is the siblings’ older brother, placed in charge by his war-fighting father, clashing often with stubborn Edmund (Bunmi Osadolor). Alongside the pair are wise bookwoorm Susan (Joanna Adaran) and delightfully inquisitive Lucy (Kudzai Mangombe). As a quartet, the four performers bounce off of each other well, and switch quickly from squabbling siblings to a family desperately trying to hold itself together. The strength in the bond between the four is clear from the very start, but what makes this production particularly successful is the vivid characterisation of its leads, encapsulated by the dramatic tension evoked during the piece’s final act.
Alongside the four is an enormous ensemble cast who often find themselves doubling and even tripling in order to effectively depict the chaotic expanse of Narnia. Katy Stephens’s White Witch is terrifying and cruel in equal measure, increasing in brutality during a particularly dark second half that just hits the boundary line for a family show. The White Witch’s wickedness is contrasted nicely by the charming Mr Tumnus (Alfie Richards). Tumnus features surprisingly little in the production, perhaps a casualty of the uneviable task of condensing the story into a two-hour production, yet Richards still finds time to carve out some impactful moments, especially during a touching and desperately sad solo number upon first meeting Lucy. The character’s quietness and vulnerability are a nice touch against the bold and lavish backdrop of the rest of the piece, and Richards pulls this off superbly.
Dominating the second half with presence and power, Stanton Wright’s Aslan is striking from the get-go. The production has chosen wisely to stage Aslan’s character in such a way. Here, Aslan, as a lion, is represented in an enormously well-crafted puppet which evokes visions of Life of Pi or War Horse, and the decision to do this works well when trying to demonstrate Aslan at his most imposing. The combination of Aslan the puppet, with Wright’s physical manifestation of the character, representing more abstract emotions that are more tricky to catch with a puppet, is a wise choice, and this helps to evoke one of the play’s darkest moments at the height of Aslan’s vulnerability in Act Two.
Tom Paris’s set and costume design is utterly gorgeous, throwing us quickly from wartime Britain to the Professor’s manor right through to the spellbinding Narnia. Framing the stage with a variety of circles, mimicking portals, is a deft touch, but it is the sensational costume design that dazzles. The White Witch, looming over the stage in a jaw-dropping conclusion to Act One, in a ceiling-to-floor blue gown, is just one example of the gorgeous costume design in this show. In addition, the smaller prop choices, such as a gorgeously lit puffing train that mimics the children’s journey to Scotland, are a visual treat, and are a cute example of the many small but neat touches the production has to throw us into the children’s novel. Naturally, the source material means this production is quite nostalgic for many theatregoers, and the designers, it seems, are all too aware of how much audiences love the story, taking no shortcuts in the creation of the world. The magic in the design complements perfectly the magic of Lewis’s story, and it is impossible not to be swept up in the wonder of it all, especially during some of the quick changes, characters appearing to evaporate and things bursting into flames, all of which deservedly earned a few shocked gasps from the audience.
The combination of beautiful design, imaginative staging and compelling performances makes this a truly spellbinding production. There are moments that have to be seen to be believed, but despite the enormous expense that has been put into this piece, at its heart remains the magic and the charm that the novel has in abundance. This is a perfect night out for C. S. Lewis fans old and new, effortlessly guiding you through the wardrobe and sweeping you off to Narnia.
Runs until 19 July 2025
