The Lion, The Witch and The Wardrobe: A Review

"After crossing the border from Lancashire to Yorkshire on a chilly evening, we received a very warm welcome at The Richard Whiteley Theatre and settled to watch the opening night of this remarkable telling of a classic story. The enchanting world of Narnia has been at the heart of this popular children’s story for decades, Lewis’ work explores themes of wonderment, fantasy, and make-believe, all of which were beautifully realised by a talented young cast. The audience were immersed in C.S. Lewis’ timeless writing; the story draws clear parallels with Judaeo Christian themes through the rebirth of Aslan, and the horrors of war in a narrative fuelled by good versus evil. The shadow of war and conflict is cast over the production making connections with the twenty first century.

The innovative set, designed by theatrical set and costume designer Sally Malkin, moved the audience with ease from the real world to the magical world of Narnia. This magical shift was generated by a huge moving wall, which turned page like as the Pevensies stepped through the back of the wardrobe into the snow filled wonderland. The first reveal of Narnia was greeted with an audible gasp from the audience. Superb lighting by Joules McCready and projections, along with atmospheric music courtesy of Michael Offland, helped to evoke a range of contrasting environments and atmospheres. The use of these theatrical devices moved the audience’s focus with camera lens precision, constantly reengaging and refocusing their attention. The clever use of colour, which permeated the production, communicated the harsh coldness of the White Witch’s empire. This was thrown into stark contrast with the autumnal warmth of the real world and Narnia in spring. The changes in set and furniture were undertaken by the ensemble in true Kneehigh style, this worked extremely well and was innovative and charming.

The costumes were superb blending period and modern styling to generate a universal appeal. The use of monochrome costume and harsh white geometric animal masks created the skeletal and bleak world of the Witch’s tyranny. This was contrasted with the autumnal warmth of Aslan and the woodland creatures. This effective use of colour helped set the opposing forces of good and evil firmly in the mind’s eye of the audience and was supported by sympathetic lighting choices.

There was a substantial cast of young actors involved in the production, with the ensemble totalling thirty-six. It would be impossible to mention everyone individually, but I feel I must mention some of the standout performers.

Firstly, the four children, Peter (Leo Gorner), Susan (Noorie Hussain), Lucy (Sophia Henson) and Edmund (Max Scholey). This exquisite quartet provided us with some lovely moments and were totally convincing as brothers and sisters embroiled in tussles, squabbles, and sibling rivalry. All four presented quite different personality traits throughout; the natural voice of reason, parity and leadership was the hallmark of Peter. Susan remained the matriarch, seeking to reach diplomatic resolutions to patch up disagreement. Edmund, the truculent rebel, seeking to test the authority of his brothers and sisters to establish himself and seek approval. Finally, Lucy, the caring, kind, and overly curious protagonist, was at the heart of the narrative uncovering the magic of Narnia. All three demonstrated remarkable skills in bringing these characters to life communicating growth and development through interesting and well-constructed character arcs. The sheer amount of dialogue given to these characters would have made a professional actor wince, yet none of them faltered and delivered their lines with conviction and clarity.

For most readers of The Lion, the Witch, and the Wardrobe the iconic Mr Tumnus remains the most loved character. Ben Kelt took on the role superbly and the audience were moved by his plight evoking an empathetic reaction. His three-dimensional portrayal was marked by warmth and vulnerability. Ben’s tip toe stance, skittish physicality and sad register added to his performance, and he perfectly captured the fawn’s dilemma.

The White Witch, played by the wonderful Lily Whewell, was as the name suggests, the villain of the piece. This witch left us in no doubt as to who was who was in charge, her magnetism and calculated shifts in tone and pace painted her as the malevolent tyrant, controlling her empire through fear, charm intelligence and horror. Her status was hugely elevated by her entourage, the Witch’s Creatures, who relished every moment of stage time, exuding cruelty and pure evil as they oozed across the stage. Her sidekick Grumpskin, lived up to his onomatopoeic name. Will Scholey brought the grumpy emissary to life with whip cracking panache and gruff in-hospitability.

Mr and Mrs Beaver (Woody Salt and Tabitha Nimmo), were a delightful pairing of old school Captain Mainwearing stereotype, portrayed with bluff RP, and military precision, and a feisty maternal Yorkshire Mrs Beaver. They added a comic lightness to the work through their chemistry and excellent comic timing. Their costumes added to the characterisations harking back to World War Two styling, replete with stylish Burberry tails. Throughout, they spoke with clarity and adopted stylised physicality to capture animal like qualities.

One of the best-known characters in the piece is Aslan (Claudia Parravano-Tomasso) and we were treated to a regal and commanding performance. Claudia commanded the space, taking ownership from her very first appearance; holding gravitas and commanded high status throughout. Her calm demeanour, grace and dignity captured the essence of benevolence, leadership and regality. Aslan was portrayed with a lovely stillness and excellent diction. Her presence was elevated through effective costume which enhanced her stature and feline characteristics. The addition of puppetry through Alice Hellewell’s sympathetic use of mask work, provided a larger-than-life presence.

The remaining ensemble all contributed hugely to the realisation of the production, retaining sustained characterisation throughout. There were lovely supporting roles from Alice Hellewell as the stern housekeeper Mrs Macready, and Eleanor Warburton as an enthusiastic Professor Kirk.

Occasionally, the world of theatre fails to acknowledge the immense role undertaken by creatives involved in costume, makeup, furniture, properties, and stage management. Without these theatre maker’s efforts, this productions would not have had such spectacular visual impact; so well done to everyone backstage.

Lastly to the directors Katie Baskeyfield and Gareth Warburton. A job well done; I should say!

Directing such a large ensemble in set pieces is never easy, yet every cast member involved remained committed and hugely enhanced the production. Whether oozing as the Witch’s creatures or popping up from unexpectedly as a Woodland creature each cast member added new qualities to the creation of the world of Narnia.

Each and every member of the theatre company should be very proud of their achievements.

Congratulations on a most enjoyable production and I wish you all a brilliant time for the rest of your run. Thanks also to everyone at the Richard Whiteley Theatre for such an enjoyable evening."

Anne Baron