★★★★☆

This was not a planned viewing for me (although I did want to see it) but a last minute purchase because the show I was in London to see got cancelled. I have loved the book since I was a child and I grew up on the 1979 animated version.

The open stage as you enter has a big clock on the back wall and a piano in the centre, with golden circles (later changing to white in the snowing land of Narnia) framing the stage. The clock was later revealed to be a large porthole that was used very effectively at various points for characters to watch over or control the events on stage. For me it gave me a Harry Potter and the Cursed Child vibe and this feeling continued during the show with some of the staging. The set design (Tom Parks – original by Rae Smith) added nicely to the mood throughout the show and was very nicely complemented by the lighting design (Jack Knowles. It is always satisfying to see a show where these two elements come together and this was definitely one of them. They also helped with the illusionary elements (designed by Chris Fisher).

Chris Jared, Shaka Kalokoh, and Emmanuel Ogunjinmi

Most people probably know the story by now. Four siblings, Peter, Susan, Edmund, and Lucy are evacuated from London during the war to the large country mansion of a mysterious professor. There they discover a wardrobe that acts as a portal to the fantasy world of Narnia, ruled by the White Witch who has made it permanently winter (but never Christmas).

Samantha Womack

In this production the Pevensie children are played by Ammar Duffus (Peter), Robyn Sinclair (Susan), Shaka Kalokoh (Edmund), and Delainey Hayles (Lucy). They complement each other very well and form a unifying centre to the cast. Delainey Hayles stood out among the four as the main protagonist who discovers Narnia. She had a very child-like innocent quality which can be difficult to put across convincingly when adults play child roles.

Robyn Sinclair, Delainey Hayles, Ammar Duffus, and Shaka Kalokoh

The vast expanse of CS Lewis’ fantasy world does convincingly appear on the stage in front of you. Director Michael Fentiman uses every inch of the stage, especially in the larger set pieces, such as the train journey, and the journey to Mr Tumnus’ house. The train journey was particularly clever, with the ensemble’s suitcases lighting up to form the train carriages, all accompanied by intricate choreography and movement (Shannelle ‘Tali’ Fergus).

The Company

Music is a key element of this production – despite it not being a musical in the traditional sense. Reminiscent of another Michael Fentiman’s productions, Amelie, this is an actor musician production with only the four Pevensie children, the White Witch (Samantha Womack), and Maugrim (Emanuel Ogunjinmi) not playing instruments on stage. The music (Benji Bower and Barnaby Race) is predominantly folk in style which ins in keeping with the look and feel of the animal inhabitants of Narnia and their houses. The underscore music (also played by the actors on stage) is hauntingly atmospheric and helps to build the fantasy world.

Puppetry (designed by Max Humphries and directed by Toby Olie) is used to create some of the fantasy elements – the Professor’s cat, Schrödinger, a giant monster made of Turkish delight, and of course, Aslan. Aslan is portrayed both by puppet and human reminded me very much of the tiger in Life of Pi. The human element of him was played by Chris Jared, with long hair and a huge fur coat. I’m not too sure how effectively this worked – though Chris Jared was very good. When Aslan first appeared the actors were addressing the puppet rather than the actor stood next to him. As the second act went on they started addressing the actor and for the sequence of Aslan’s death and resurrection the puppet Aslan disappeared from the stage entirely.

Chris Jared (centre)

Samantha Womack as the White Witch is an oppressive force in the show. It is under her spell that Narnia is condemned to permanent winter, and under which Edmund falls when he first enters through the wardrobe. She naturally contributes to the scarier moments of the show and there were some visible and audible reactions to her from the younger audience members around me.

Shaka Kalokoh and Samantha Womack

I have deliberated over the rating to give this production. As you can see from my review a lot of the individual elements were outstanding. But for me something just didn’t click. The story felt very condensed and rushed and as a result I didn’t feel that I always had the opportunity to connect to the characters. The focus was definitely on the spectacle. Perhaps this was because I was too familiar with the source material. My son, who had only read the book once, many years ago, and couldn’t really remember the story, didn’t feel this way. As the book is not as commonly read as it was when I was growing up, perhaps the target audience will view it more from the perspective of my son than mine. I wanted to fall in love with this production. I thought it was very well done, but it didn’t hit me where I wanted it to.

The Lion, the Witch and the Wardrobe runs at The Gillian Lynne Theatre, London, until 8th January 2023

Tickets available here – https://lwtheatres.co.uk/whats-on/the-lion-the-witch-and-the-wardrobe/

Photos © Brinkhoff-Moegenburg (a mixture of current London cast and original UK tour cast)