Festival Theatre, Edinburgh
Five stars
A World War Two soldier is playing We’ll Meet Again on the piano at the start of this latest tour of C.S. Lewis’ classic morality tale. The melancholy melody is about the most down to earth thing you’re likely to see over the next two hours of a show that turns its dramatic world upside down in epic fashion. Scaled up by director Michael Fentiman from Sally Cookson’s 2017 version at Leeds Playhouse, the result is spectacular.
The opening song sets the tone for the wartime evacuation of the four Pevensie children, who are decamped to Aberdeen, where the allure for their new home’s spare room proves too much for the eternally curious Lucy. Before she knows where she is she has gone beyond the flea ridden fur coats and landed in Narnia.
As imagined by designer Tom Paris and original designer Rae Smith, the Narnia under the queendom of Katy Stephens’ White Witch’s more resembles some Fritz Lang styled dystopia driven by a constructivist chain gang who seem to have stepped out of a 1970s adult SF comic. Yes, the White Witch has got the power, as she proves with her jawdropping metamorphosis at the end of the first act, but Spring is coming. This is the case even if Lucy’s daft brother Edmund sells out his siblings for a bumper sized box of Turkish Delight personified by way of Toby Olié and Max Humphries’ larger than life puppetry.
Fentiman’s slickly oiled machine is driven by Barnaby Race and Benji Bower’s chamber folk score played by the cast of more than twenty throughout. Despite the show’s grandiose staging, it is the humanity of the piece that gives the show its heart and soul. This is even the case with Stanton Wright’s messianic looking Aslan, embodied by a life size lion puppet beside him as he spars with the White Witch and her well drilled minions.
As Shanell ‘Tali’ Fergus’ choreography navigates the cast from dark to light, it is the Pevensie clan who shine. Joanna Adaran as Susan, Jesse Dunbar as Peter,
Kudzai Mangombe as Lucy and Shane Anthony Whiteley stepping up as Edmund for a Thursday matinee briefly halted by technical gods all rise to the occasion in a big show that never loses sight of the eternal story at its heart.
The Herald, May 17th 2025
Ends
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