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TLTWTW

The Lion, The Witch, The Wardrobe
Wycombe Swan Theatre (UK Tour)
Review Complete
“Inventive with great puppetry”
9th March 2025
  
Set: The set boasted a beautiful light-up floor that was utilised on many occasions throughout  the show. The lone piano in the centre of the stage was a nod to the land of reality, whereas the  lamppost that winded up from its lid provided the magical twist on everyday items that Narnia  characteristically achieves. More props were used than physical sets but the fantastical nature  of the production allowed this to make sense. Levels were constantly utilised throughout, both  through use of a circular window raised off the stage as well as invisible fly wires.   

Plot: 4 children from North Finchley must evacuate their home due to the dangers of the second  world war. While settling into their new countryside home, they stumble upon a magical world  inside their wardrobe, where talking animals and witches roam. Together they must grow to  become leaders and help the land of Narnia reclaim its freedom from the cruel and oppressive  White Witch.

Review: of The Lion, The Witch and The Wardrobe at the Wycombe Swan theatre is like ‘Wind in the Willows' meets Christianity in this visually stunning yet oddly-paced  production.’  

The Wycombe Swan theatre production of The Lion, The Witch and The Wardrobe  was an enchanting experience that whisked the audience away to a nostalgic world that I think  we all wished we could step into. While the atmosphere sparkled with magic, the overall  presentation felt more like an unfinished workshop than a fully realised production.

One of the most striking aspects of the show was its visual beauty. The multipurpose set  contributed to the enchanting ambiance, creating a sense of wonder on stage. The production  also made use of trap doors and old magician’s tricks, which were skillfully executed and transported you into this biblical reimagining further. The decision to adopt an actor-musician  format felt so fitting to the folklore theme of the show.

With the cast not only delivering  compelling performances but also being skilled instrumentalists, the live band added layers to  the English folklore theme that resonated well throughout the production.  The music was hauntingly beautiful, complementing the action and emotions on stage.

However, most of the songs, while lovely and atmospheric, did not serve to advance the plot.  Instead, they often recounted the situations at hand without driving the story forward. This  approach felt slightly one-dimensional, and since the songs were inspired by folk tunes, when  you’d heard the first verse you’d really heard the rest.  As mesmerising as the visuals and music were, the pacing of the narrative posed significant  inconsistencies. An unnecessary amount of time was focussed on scenes that could have been  halved in terms of script- like interactions with the beavers- and yet not enough time was  dedicated to such significant events like the battle of Narnia itself.

I personally found that this  impeded me from emotionally connecting with most elements of the performance as they were  glossed over so quickly. This skewed pacing resulted in a narrative that at times seemed overly  complex for children, yet too simplistic for adult viewers.  Character development was similarly inconsistent. While Edmund (Bunmi Osadolor) and Lucy  (Kudazai Mangombe) were afforded rich, multi-layered portrayals—Edmund, in particular,  skillfully walking the line between naivety and redemption—Peter (Jesse Dunbar) and Susan  (Joanna Adrian) felt underdeveloped. Instead of witnessing Susan’s growth into a skilled soldier  or Peter’s evolution into a decisive leader, we were left with two characters who seemed stuck in  the role of responsible, nagging older siblings, missing crucial opportunities for depth.

The artistic choices regarding the representation of Aslan (Stanton Wright) also sparked  confusion. The dual presentation of Aslan with both a large puppet and a man in a fur coat,  while intended to symbolise the character’s body and soul, often appeared as if a man was  simply accompanied by his pet lion. This disjointed imagery detracted from the intended gravitas  of the character and left some audience members puzzled when at times only one or the other  was on the stage.  Additionally, the character of Mr. Tumnus (Andrew Davison) had a fleeting presence that felt at  odds with his circumstances. Considering he had not only never seen a human in his life but did  not even believe they were real, his reaction to Lucy under the circumstances seemed quite  downplayed and not to mention short lived.

Despite these shortcomings, some performances shone brightly. Katy Stephens as the White  Witch delivered an exceptional portrayal, although I’d expect nothing less from an associate of  the royal shakespeare company with a portfolio that spanned the length of the programme. I  have seen Katy Stephens in various other performances and she was nothing but a treat to  watch yet again. She embodied the spirit of the witch perfectly and when she was onstage you  could not take your eyes off her gripping performance and line delivery.

Often what makes or  breaks a performance is its villain, and I can happily say that my fellow movie and book-lovers  will not be disappointed in the depiction. Likewise, the professor (Kraig Thornber) was a  refreshing surprise; his character was more fleshed out than in adaptations I’ve seen, exhibiting  a delightful balance between wisdom and whimsy from the start.  While the first act felt sluggish, resulting in some families with young children leaving during the  interval, the second act picked up significantly. It was here that the children’s growth became  palpable, and the narrative began to weave their maturation into the fabric of the story in a  compelling manner.

Overall, the touring production of The Lion, The Witch and The Wardrobe was a visually  appealing outing, but the uneven pacing and character development ultimately detracted from  its potential. While there were moments of magic, the production felt incomplete and left me with  a sense of disappointment. For all its visual and musical allure, it struggled to deliver the  emotional depth that such a beloved story deserves. Worth the theatre visit, but definitely a  one-time watch for me.
 
Reviewer:  Claudia Lynch

Photographs: Brinkhoff-Moegenburg

We are Gifted tickets so that in return we may give an honest review. All comments are those of the reviewer and theirs alone.
Greasepaint and Stage Lights

Email: musicals@btinternet.com
website: www.greasepaintandstagelights.co.uk
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