THE LION, THE WITCH, AND THE WARDROBE | FESTIVAL THEATRE, EDINBURGH
★★★★
‘ A feast of family entertainment that is must see theatre at its finest…’
Shorthand is a wonderful thing and in this beguiling production of The Lion, The Witch and The Wardrobe, arguably the most popular and best known of CS Lewis’ Narnia Chronicles, the scene is quickly set.
If instantly recognisable motifs identify the setting as WWII London from the off, an opening rendition of Dame Vera Lynn’s We’ll Meet Again quickly confirms it, succinctly establishing the dark years of war in broad brush strokes.
When Lucy, Edmund, Susan and Peter find themselves being evacuated to Scotland as London prepares for a bombardment from the skies, it’s not long before they discover an old wardrobe in their new lodgings that has magical properties – it’s a secret portal to the Kingdom of Narnia, a magical world of talking animals and mythical creatures. There, they meet new friends, must face dangerous foes and learn lessons of courage, sacrifice, and the power of love.
Sure-handedly directed by Michael Fentiman with inspired choreography and movement by Shannelle Fergus, this enchanting production is a sublime mix of music, magic and physical theatre that is gorgeous to looking at, while Tom Paris’ ingenious set design conspires with Jack Knowles’ chiaroscuro lighting to add impact, making the seeming impossible, possible.
Simple as it is, that flowing choreography and moody lighting ensures the four siblings’ journey by steam train to Scotland at the top of Act One is spellbinding. But while it may set the bar high early, from there on the spectacle of the piece just builds and builds.
Setting out on their adventure, Joanna Adaran, Jesse Dunbar, Kudzai Mangombe and Bunmi Osadolar as Susan, Peter, Lucy, and Edmund respectively, are convincing as the four frightened, inquisitive, squabbling, yet ultimately loving youngsters and drive the action with child-like energy. Their energy is more than matched by Katy Stephens, a deliciously scary White Witch. Her’s is a chilling performance contrasting nicely with that of Stanton Wright as Aslan. Wright boasts a voice you could listen endlessly to; rich, warm and commanding. Throughout, he is shadowed by Aslan’s lion aspect, an impressive puppet brought to life through the deft teamwork of Andrew Davison, Molly Francis and Rhodri Watkins.
All are ably supported by a well drilled ensemble who work brilliantly together, many playing multiple roles. A special shout out goes to Kraig Thornber. Mischievous and avuncular as the Professor charged with taking care of the four evacuees, he also gives an exuberant fun turn as Father Christmas.
A Christian morality tale may well lie at the heart of this piece but it’s never overplayed and easy to overlook while immersed in the unfolding adventure that, at times, is positively gnostic in its messaging. With uplifting harmonies, Celtic rhythms and African beats, Barnaby Race and Benji Bower’s score is also quite spiritual in nature and in turn is transformed something quite cinematic by Tom Marshall’s immersive sound design.
All in all, this feast of family entertainment is must see theatre at its finest. Epic even.
Runs until 17 May at Edinburgh Festival Theatre, tickets here.
Full tour dates and tickets here.
