Director: Michael Fentiman
Original Production: Sally Cookson
Associate Director: Pip Minnithrope
Original Novel: C.S. Lewis
Original Writer in the Room and Dramaturg: Adam Peck
Inspired by the 1950s classic novel, an entertainingly lively folk musical comes to Brighton on tour from the West End. With spirited songs, invigorating choreography and a strong cast, this is an enjoyable piece of theatre. Sadly, the production has shed some of its set in its transition to this historic venue so it falls short of the sense of grandeur we were expecting but there is still lots here to delight an audience of varying ages.
Pre-show, a lone soldier sits on stage playing a piano accompanied already by an air of defeat. Thankfully, a rousing rendition of ‘We’ll Meet Again’ and an innovative steam train puts us back on track.Evacuees during the Second World War, siblings Lucy (Kudazi Mangombe), Edmund (Bunmi Osadolor), Susan (Joanna Adaran) and Peter (Jesse Dunbar) are relocated reluctantly to Scotland, where they meet an eccentric professor (Kraig Thornber) and his surprisingly humorous cat, Schrödinger (Andrew Davison). Although, the children are forced by well-meaning adults to flea the war, they find themselves unable to escape conflict as they discover an oppressed magical kingdom stuffed into the back of a wardrobe. In the fantasy land of Narnia, a self-interested world leader has destroyed the climate and silences anyone who dares to look sideways by turning them into stone. Sounding at all familiar? It’s a tale of fascism, righteousness, and power struggles with a heavy dousing of biblical references.
A childhood favourite for many, this story has reached its 75th anniversary, which comes with the need to acknowledge its more uncomfortable place in the canon as a dated piece of propaganda. However, this production works hard to breathe new life into the tale by making comparisons to today’s climate crisis, commenting on the effects of war trauma upon children, and adding much needed diversity, along with influences from African culture. As the creatures of Narnia fight for their decimated climate, the message is that they need the will of humans to overthrow the powers that are destructively controlling their environment. It is observations like this that help to go beyond the tale’s historic agenda and give it relevance today.
The first half of the production has a great deal of energy and spirit. It oozes theatrical joy with highlights including a Turkish Delight monster, a Resistance made up of singing animals, and the prowling of the terrifying Maugrim (Shane Antony-Whitely). Mrs Beaver (Anya De Villiers) and Mr Beaver (Ed Thorpe) make an excellent comedic couple, both highly entertaining and a pleasure to watch. Everyone’s favourite fawn, Mr Tumnus (Alfie Richards), wistfully creates the moving number ‘When There Was Spring’, and the first half ends with a chilling image of the White Witch (Katy Stephens) addressing her troops as snow flutters down upon her in a nod to infamous fascist rallies.
A particular joy of this production is watching musical instruments whirl around the stage as their gifted players glide with them. A merry musical number with Santa Claus (Kraig Thornber) as “the present giver”, leads us into the second half with great promise, but unfortunately, the story then starts to drag. The pacing falters, with the bond between the children and Aslan not fully realised. The woodland creatures continue to delight though and the presence of the feline beast on stage is very aesthetically pleasing. The puppetry of the lion (Andre Davison, Molly Francis, Rhodri Watkins) is skilfully handled with a particular pleasure evoked from the flick of a tail. Alongside the puppet, appears Stanton Wright who helps to give Aslan expression. Some further physical connection between actor and puppet could reinforce their unity as one beast but Wright’s suitably robust fur coat makes a statement.
If you can push through the more problematic of the political and religious messages that the novel has set forth, the production itself is enjoyable with some outstanding scenes. The costumes designed by Tom Paris are visually impressive and engaging, as you can relish identifying the creatures they represent, the flowing movement on stage from choreographer Shannelle ‘Tali’ Fergus is delightfully invigorating, and the songs are highly spirited. The show demonstrates that this story still has the power to engage its audience. Overall, it is a hearty retelling of the classic tale which surely beats spending an evening in a wardrobe.
Runs till the 15th March.
The Reviews Hub Score
Energetic, entertaining and enjoyable
