By: Cathryn Macey
Stranger Things returns to Netflix this week but the return of The Lion, the Witch and the Wardrobe to TRP is arguably more exciting and even more likely to thrill local audiences.
Its start lulls us into a false sense of security. A young soldier plays “We’ll Meet Again” on a piano in a smoky train waiting room before he is joined by the entire ensemble cast clad in traditional 1940’s costume and skilfully playing a variety of different instruments.
Singing and showcasing some impressive harmonies, the ensembles’ vocal talent is apparent from the off and when we meet Lucy, Edmund, Peter and Susan we’re soon scooped up into a warm blanket of nostalgia for a by gone era.
Like its director Michael Fentiman, many of the audience remember the stunning BBC adaptation of the CS Lewis books which ran from 1988 to 1990. The show’s exposition recreates those warm, fuzzy memories of Sunday nights snuggled up by the tv enthralled by the series and its array of colourful characters. Warm, soft lighting (Emily Irish) both on stage and inside a miniature model of the evacuees’ train create an immediately cosy atmosphere.
Playful use of puppetry (Oliver Grant) and stylish choreography (Shanelle Tali Fergus) mean that this introduction is fresh and engaging but the feelings of warmth, cheer and joy (despite the hardships of war) are there for the audience to indulge in. But, just as we begin to sink into our seats and bathe in shared idealistic memories of the past, the production ramps it up a gear and reminds us that family shows don’t need to be entirely wholesome.
Lucy’s descent into the weird and wonderful world of Narnia is phenomenal. One minute we’re sipping tea and eating rubbery kippers with the marvellous and brainy Professor (Kraig Thornber) and the next we’re plunged into a parallel universe which is both beautiful and menacing at the same time.
The scale of the set (Tom Paris) is immense. Large celestial looking rings that light up in different colours frame the stage. In the top ring, a hint of the terror that later unfolds is evident; a man dressed somewhere between monk and angel plays a haunting tune on a cello. Looking like a harbinger of death, his entrance and subsequent cameos foreshadow the darker moments of the performance. Both the pitch and melody of this mythical characters’ music are terribly unnerving and set the scene for the White Witch’s debut.
More Lady Macbeth than your traditional depiction of Narnia’s famous snow queen, innovative use of costume, set and aerial work make Katy Stephens’ performance pop. With special effects included to further entice us into her wicked world, the evil pull of her character is undeniable. The White Witch’s devilish persona is intensified by her band of loyal cronies; dressed in gas masks, hard hats and black boots, the white witches’ assistants are terrifying and a foil to the merriment of more festive scenes featuring the likes of Mr Tumnus (Alfie Richards), Father Christmas and Mrs Beaver.
These characters are the antithesis to the dark underworld The White Witch and her side kicks revel in. The darker their behaviour, the more joyful Red Squirrel et al appear. Mr Tumnus’ song about the joys of spring, for example, wouldn’t look out of place at a Disney parade. Lively live music and dynamic dance routines bring these moments of sheer joy to life and help to spread the original novel’s core message; good will always overcome evil.
This production is a visual spectacle that doesn’t shy away from the darker aspects of the text and it is this edge to a family show which makes it unique and worth a watch before it heads to Salford soon.
(Recommended for ages 6 plus)