Music: Benji Bower and Barnaby Race
Writer: C S Lewis
Adaptor: Sally Cookson
Director: Michael Fentiman
When C.S. Lewis first wrote and published The Lion, the Witch and the Wardrobe in 1950, he dedicated it to his goddaughter. Now, 75 years later, through the media of film and theatre, it still delights audiences of all ages. This production, directed by Michael Fentiman, is no different. A continuation of Sally Cookson’s 2017 production, which debuted in Leeds, the use of puppetry, musicality, and movement is quite a spectacle.
The scene is set before the lights even dim with a lone soldier playing songs on the piano. The White Cliffs of Dover and It’s a Long Way to Tipperary are classic wartime songs that set the mood and positions the audience in 1940s Britain during the Blitz evacuations. Before long, we board the train with the children, Scotland-bound for their new life away from their families. This is our first opportunity to see one of the many aspects that make this ensemble special as members puppet a train and its carriages on its long journey through the night. The ensemble is the heart and soul of this production. They sing and dance, they act, and they provide the music, playing a veritable orchestra’s worth of instruments, not just from the sidelines but also in the action.
The use of music is important throughout the production, as backing to the numerous songs, but also adding to the tension and atmosphere during some of the more intense scenes. More often than not, a piano can be seen lurking on the fringes of the stage whilst a violinist plays, skulking in the shadows. The composers, Barnaby Race and Benji Bowers, also from the original 2017 play, really make the most of musicality to add depth and richness to every scene.
Puppetry, set design and prop design are key components of this production. The behind-the-scenes team, including Tom Paris (Set and Costume Design) and Max Humphries (Original Puppet Design), creates much of the charm and joy on display with impressive puppets and innovative props. From parasols styled to look like snowflakes to psychedelic pink cubes of Turkish Delight, the use of props during the dances and musical numbers adds a lot of wonder and sometimes a little whimsy.
The puppets of The Professor’s cat Schrödinger and the central figure of Aslan the Lion are incredible to watch, and they become the focus each time they are on the stage. Andrew Davison is the puppeteer for the somehow humorous Schrödinger, who, despite not speaking, always has something to say whenever he is on stage. Davison is also part of the three-person team that controls Aslan, a beautifully crafted puppet, putting on a marvellous display of expert, interpretive puppetry. The puppet Aslan mimics the movements and the mannerisms of Stanton Wright, Aslan’s human actor, brilliantly. As a group, they portray the character perfectly, with an almighty roar ringing out through the theatre and into the night.
Highlighting the show’s puppetry should not detract from the performance of the cast. Kraig Thornber’s performance as The Professor is excellent, full of humour with a little bit of mystery and intrigue as he talks with the children about the magical land of Narnia. He also has a ‘gift’ of a cameo as Father Christmas in the second act; a very different character performed exuberantly to his same high standards.
It would be difficult to talk about this performance without mentioning the children, or at least the actors and actresses who portray them. The group of four, Jesse Dunbar, Joanna Adaran, Kudzai Mangombe and Bunmi Osadolor as Peter, Susan, Lucy and Edmund respectively, are all wonderful. They capture the essence of sibling relationships, the closeness, the tension, the inevitable arguments and the reconciliation that anyone with a sibling will recognise and relate to. A special mention for Bunmi Osadolor, making his theatrical debut with this touring show, and already performing like a seasoned veteran.
With so much to enjoy and so little at fault, a question remains: was it long enough? The pacing of the performance is rapid, with barely a moment spared for characters to truly be introduced. Scenes are fast-paced and feel clipped while rushing from one to the next. The second act especially feels like something is missing: just one more scene needed, perhaps, to round out what is otherwise a near-perfect performance. With quality beyond reproach, the audience might feel they deserved just a little bit more to satisfy.
Overall, this is a great show for all ages to enjoy, despite some references, for example, to wartime songs and slogans going over the heads of the youngest members of the audience. In this show, there is something for everyone, be it the music or the magic conjured as this classic tale lives on.
Runs until 26 July 2025 and on tour
