It’s November. The cold is coming in. We may see the first few flakes of snow soon. And Christmas is just around the corner. The perfect time to take yourself and anyone else – kids, parents, grandparents, friends, random strangers – to go and see the newest show at the Bridge Theatre – ‘The Lion, the Witch and the Wardrobe‘.
This is the story everybody knows at least something about and have probably seen or read at least one adaptation – four kids find a whole other world through the back of a wardrobe where an evil queen rules and it is always winter and never Christmas, and the adventure to conquer Narnia back ensues. However, as I discovered – no matter how well you think you know this story, you have never seen it be done quite like this.
*Full disclosure – I will be trying to keep this review as spoiler free of everything – set, content, puppetry – because this is a show best gone into with minimal/no prior knowledge in order to truly experience the magical experience*
From the moment you set foot into the auditorium, you are transported away from the outside world. The set isn’t extravagant (deliberately done so), but still stunning with the iconic lamppost, a giant clock hanging over the audience and the sounds of a train station echoing which just completes the atmosphere.
From before the show has even begun, the fun is already there – audience members are treated as passengers waiting for their train to depart and the ensemble are dotted around the auditorium interacting as train conductors and guards. A small detail added in, and for the families and children in the show, it is a fun added element where kids feel they can get involved.
When the show itself starts, the way the plot is carried out has clearly been thought through down to every last detail; there is incredible movement and choreography to show the Pevensie children’s long train journey into the countryside – this entire scene made me feel like I was back watching ‘Harry Potter and the Cursed Child’ with the style of movement they have used – and this staging and directional movement carries on throughout the whole show. This direction makes scenes which may otherwise be long and uninteresting, a wonder to watch.
From the train journey to exploring the house to every trip through the wardrobe and into Narnia…the staging has been done in an incredible manner where the ensemble truly shine by showing how flexible they are, and brings a kind of magic to scenes which had the audience utterly transfixed. This is a show where the ensemble stand out as much as, if not arguably more, than the main roles.
The staging itself is not the only magical thing about this show; the set rendered me absolutely speechless. Note my earlier comment – that although the set appears simple to start with – the lamppost is always on stage, the clock is always above the audience but other than that there is only a few pieces of furniture that are pulled on stage…until the children start to encounter Narnia. The transformation from the ‘normal’ world to the Narnian world is exceptional. The use of stage craft is insane – again, trying to avoid spoilers – but every space possible on stage is used and it’s hard to believe you’re looking at the same space that you saw just moments ago. Suspension of disbelief is very easy – with the use of staging, set, lighting and sound…you feel as though you truly ARE in Narnia.
The transformation between worlds are as effortless and seamless as everything else in the show – everything that is said or done on stage has clearly been accounted for. You can expect no clunky or messy scene changes – the changes between worlds are done right before your eyes so when Lucy steps through the wardrobe and sees Narnia for the first time – the audience does too. Similarly in reverse – when Lucy panics to get back through the wardrobe, all traces of Narnia are ripped away quicker than you can say Mr. Tumnus.
Not only is the transformation between the two worlds magical, there is also the spectacular use of colour. As everyone knows, in Narnia it is always Winter and never Christmas and under the White Witch’s reign, it has been a long time since anyone there has every seen Spring. However, as Aslan returns and brings Spring with him, the use of colour shines through. The set which is pure white for Winter begins by having little subtle pieces of colour get added in here and there, barely noticeable, and then this builds more as Spring gets closer and closer, until the end where there is fantastic colours everywhere you look, and not a dash of white, black or grey to be seen, and especially at this time of year when grey and white seem to be the two colours that make up London streets, this use of colour is really warming and uplifting.
Being set in a land with witches, talking lions, and all things magical…it would be easy to assume this is a show primarily aimed at children. Incorrect. This is a show that has found the perfect balance where everyone of any age can enjoy the show. I am a 22 year old woman and went alone, and in the audience I saw families with children of all ages – from 5 to 15, and then there was plenty of people my age, all the way up to the older generation. There is not one demographic this show is aimed at, and within the show there truly is something for everyone.
The acting throughout is stellar – not one person steals the show as everyone has put their heart and soul into making this show the spectacle it is. The energy and enthusiasm given is palpable, from the golden hearts of the Beavers’ to the stone cold heart of the White Witch, all the way down to every single incredible ensemble member. If anything, the Aslan puppet steals the show, but that is one of those things where you have to see it to believe it.
One thing I found endearing is the subtle acting choices made by the adults playing the children. These are children who have had to leave everything familiar to them behind as they are evacuated to the country – something which must be scary enough as an adult – to be sent away from your home – let alone for children…and there are little nods to this fear and nervousness carried out. My personal favourite is John Leader who plays Edmund frequently twisting his jumper into knots, something even I do when I am nervous. These subtleties work perfectly to display feelings of uncertainty the children have, but left me full of compassion, just wanting to give them all a hug and a hot drink!
Overall this is a beautiful show which is a feast for the senses. A story which can bring out the child at heart in people, and take audiences back to the time where their imaginations had no limits and the idea of finding a world in the back of a wardrobe and having marvellous adventures didn’t seem too far fetched…(in fact every time I watch the show, read the book, whatever it may be to do with this story – I have a theory about an overall metaphor for the story itself but that’s a story for another blogpost)…
If you’re looking for something to entertain and warm hearts in the winter season, look no further – this is not to be missed. There’s even a scene where Father Christmas has his own song, and if that doesn’t sell it to you, I don’t know what will! Now, why not take a chance and give the back of your wardrobe a push, you never know what may be waiting on the other side…
Buy tickets to ‘The Lion the Witch and the Wardrobe’ here.
One Show at a Time 