Review: THE LION, THE WITCH AND THE WARDROBE (UK Tour)
Brinkhoff Moegenburg
THE LION, THE WITCH AND THE WARDROBE UK Tour, directed by Michael Fentiman, is a bold and imaginative re-telling of the beloved childhood classic. While it captures the spirit and underlying magic of C.S. Lewis's tale, it often stumbles in delivering the story with the clarity and pace it deserves.
Visually, the production leans into conceptual artistry—at times feeling more like a live performance of an illustrator’s sketchbook than a fully realised narrative. There are moments of real brilliance, such as the mesmerising image of a figure made from glowing Turkish delight, and the striking, poetic use of the moon as a central set piece. The aerial work, puppetry and illusions (by Gwen Hales, Toby Olie, and Chris Fisher respectively) bring a touch of wonder that younger audiences in particular will delight in.
The cast deliver compelling performances across the board. Joanna Adaran (Susan), Jesse Dunbar (Peter), Kudzai Mangombe (Lucy), and Bunmi Osadolor (Edmund) each succeed in crafting distinct personalities, making their sibling dynamics both believable and engaging. Stanton Wright, supported by a team of skilled puppeteers, gives Aslan quiet majesty, and the choice to have him both embodied and operated adds emotional nuance. Katy Stephens’ White Witch is chillingly composed and commanding, and Kraig Thornber's Professor is warmly eccentric—a lovely comic counterbalance.
The use of actor-musicians is a particular highlight—the integration of live instrumentation within scenes was beautifully handled. Barnaby Race and Benji Bower’s musical score is rich, atmospheric, and at times hauntingly beautiful, adding emotional weight to otherwise quiet moments. The choreography by Shanelle 'Tali' Fergus is inventive and elegant, creating seamless transitions between scenes.
However, ensemble singing felt underpowered relative to the number of people on stage, likely due to many doubling as musicians. The overall sound was textured and interesting, but occasionally lacked vocal strength.
Costume design was mixed. While standout creations like Aslan and the Spirit of the Moon were mesmerising, many of the animal costumes lacked clarity—without them introducing their name and species, one might struggle to identify if the person were playing human or animal. That said, the fluid transformation of characters and use of minimal costume to maximum effect did feel intentional and was sometimes effective.
One of the production’s major shortcomings lies in pacing and narrative delivery. It lingers too long on atmospheric moments, often at the expense of plot clarity. The assumption appears to be that the audience already knows the story well—a fair bet, perhaps, but a risky one. For those revisiting Narnia after two decades, a little more storytelling and a little less abstraction would have gone a long way.
Technical aspects also let the illusion slip. With no wings, entrances and exits were often exposed, especially for anyone not seated in the central stalls. Luminous backstage lighting and visible cast waiting to enter further broke the spell.
That said, the production isn’t without magic. There’s evident passion in the performances, and some truly enchanting theatrical moments. The imaginative staging, multi-talented cast, and moments of genuine theatrical innovation make it a visually arresting experience. Dedicated fans of the story may appreciate this fresh interpretation, which captures the spirit of Narnia, if not always the story itself.
*** Three Stars
Reviewed by Alanna Boden