The Lion, the Witch and the Wardrobe - A Theatrical Journey into Narnia at The Alexandra, Birmingham

By Neil Cox

C.S. Lewis’s timeless tale, The Lion, the Witch and the Wardrobe, has been reimagined for the stage in a production that captivates audiences at Birmingham’s Alexandra Theatre. This adaptation, directed by Michael Fentiman and based on Sally Cookson’s innovative staging, offers a fresh perspective on the classic narrative, blending imaginative design with compelling performances to transport viewers into the magical world of Narnia.

The production opens against the backdrop of World War II, grounding the story in a historical context that adds depth to the Pevensie children’s journey. As Lucy steps through the wardrobe, the transition from the somber tones of wartime Britain to the enchanting realm of Narnia is executed with seamless stagecraft, drawing the audience into a world where magic and reality intertwine.

The set design, a collaborative effort by Rae Smith and Tom Paris, is both functional and symbolic. A rotating stage and a prominent clock face serve as metaphors for the passage of time and the duality of worlds. The use of lighting and sound further enhances the atmosphere, with cool hues and haunting melodies underscoring the White Witch’s scenes, while warm tones and uplifting music accompany Aslan’s presence.

The cast delivers performances that breathe life into the beloved characters. Kudzai Mangombe’s portrayal of Lucy captures the character’s innocence and curiosity, serving as the emotional anchor of the narrative. Bunmi Osadolor’s Edmund undergoes a believable transformation from a conflicted youth to a redeemed hero, showcasing the actor’s range and depth.

Stanton Wright embodies Aslan with a commanding presence, utilising both physical performance and puppetry to convey the lion’s wisdom and strength. Katy Stephens White Witch exudes elegance and menace, her portrayal adding complexity to the antagonist’s role.

Puppetry plays a central role in bringing Narnia’s creatures to life. Max Humphries’s design of Aslan is both intricate and expressive, operated by a team of puppeteers who synchronise movements to create a lifelike presence. Other characters, such as Maugrim the wolf, are portrayed through a blend of physical performance and mechanical elements, adding to the immersive quality of the production.

The musical score, expanded upon by Barnaby Race, complements the narrative without overshadowing it. The integration of live music performed by the cast adds an organic feel to the production, with melodies that underscore the emotional beats of the story. From the haunting themes accompanying the White Witch to the uplifting motifs during Aslan’s return, the music enhances the overall experience.

Audience reactions have been overwhelmingly positive, with particular praise for the production’s ability to appeal to both children and adults. The blend of adventure, moral lessons, and visual spectacle resonates across age groups. Some scenes, such as the battle sequences and the White Witch’s confrontations, may be intense for younger viewers, but the production balances these moments with humour and warmth, notably through characters like Mr. and Mrs. Beaver.

The Alexandra Theatre in Birmingham provides an ideal setting for this grand production. With its rich history and state-of-the-art facilities, the venue enhances the theatrical experience. The spacious stage accommodates the elaborate set pieces and allows for the dynamic movement required by the production’s choreography and staging.

This adaptation of The Lion, the Witch and the Wardrobe is a triumph of modern theatre, combining innovative design, powerful performances, and faithful storytelling. It captures the essence of Lewis’s work while offering fresh perspectives that resonate with contemporary audiences. Whether you’re revisiting Narnia or discovering it for the first time, this ⭐️⭐️⭐️⭐️⭐️ production is a must-see. Tickets until Saturday 31st May 2025 and are available online at atgtickets.com or contact the box office directly.