Reviewed at: Leeds Playhouse, by Michelle Rawlins
Step through the magical wardrobe and allow yourself to be transported into the faraway world of Narnia, in this spellbinding adaptation of CS Lewis’s classic children’s story.
Although the script remains fairly loyal to the 1950’s novel – as Richard, Susan, Edmund and Lucy take on the White Witch and befriend the affable Mr Tumnus and Aslan – the darker elements of war take a more predominant role.
The opening, a poignant rendition of ‘We’ll Meet Again’ sees children being evacuated in steam trains as threats of the Blitz force families and loved ones apart.
The four siblings find themselves in a rambling Scottish country house, where their fantastical adventure unfolds.
Based on the original production by Sally Cookson, Director Michael Fentiman has insured the theme of war is ever present, from Peter talking of his dad flying planes, the White Witch’s calls for battle and the fight to release Narnia from the eternal winter.
However, this is not a predominantly dark production. There is much to fill you with joy. Ffrom the heartwarming and adorable inhabitants of Narnia, the charming, young at heart, Professor (Kraig Thornber) and the determination of a little girl to believe in a magical world, who you are constantly rooting for.
The theatrical wizardry is truly impressive and is what makes this show stand out. Aslan, a masterpiece in technical puppetry, has a huge on-stage presence, and is indicative of the creative thought that has been put into this show, which has already enjoyed huge success in the West End. Alongside the mechanical version of Aslan, controlled by puppeteers Andrew Davison, Molly Francis, and Rhodri Watkins, is actor, Stanton Wright, who becomes the lion’s voice, bringing warmth and emotion to the larger-than-life character.
Originally directed by Toby Olie and designed by Max Humphries, all of the puppetry is sublime, including that of Schrodinger, the Professor’s mischievous but lovable cat. This, paired with Tom Paris’s thoughtful set and impeccable costume design, ensures the show is a visual delight. The transportation between the two parallel worlds, through the wardrobe, adds to the wonder, supported by a circular giant cut out which gives the impression of a portal.
The White Witch (Katy Stephens) is the icy villain you would expect, sweeping onto stage, dressed all in white, in a mechanical sleigh, pulled by a cast of beastly soldiers. The choreography, directed by Shantelle ‘Tali’ Fergus, is superbly executed, as the grotesque servants of the White Witch skilfully and competently take on roles of disturbingly terrifying animals.
Chris Fisher’s magic and grand illusions, alongside Gwen Hales’ aerial direction, add an extra exhilarating and visually thrilling element to the show. Characters disappear before your eyes, the White Witch transforms in shape, and in one scene is elevated to the sky.
The guest appearance of Santa Claus, who delivers gifts to the four siblings, Susan, (Joanna Adaran), Peter (Jesse Dunbar), Edmund (Bunmi Osadolor), and Lucy (Kudzai Mangombe), is unexpected but a welcome addition to this magnificent production in the lead up to Christmas.
All in all, this a spectacular piece of theatre, keeping the magic of Narnia alive.
Showing until January 25 2025
Tickets here
Photos by Brinkhoff Moegenburg