The Lion, The Witch And The Wardrobe UK Tour Review (Curve Theatre, Leicester - PR Invite)

30 January 2025 I 19:15 I Curve Theatre, Leicester I PR Invite

⭐⭐⭐

As The Lion, The Witch And The Wardrobe kicks off its triumphant touring return, Leicester's Curve Theatre hosts this tale of epic proportions. The spectacular nature had me longing to see this production over previous years. During the opening 30 minutes, I could feel a near constant wave of goosebumps, one of the most visually impeccable sequences I have seen on stage. Yet once the pace begins to lose its footing, a heavy Act Two fails to recover, resulting in an anticlimactic journey devoid of magic.

Celebrating the 75th anniversary of C.S. Lewis' famed novel, audiences are invited to join Lucy, Edmund, Susan and Peter as they step through the fateful wardrobe into the majesty of Narnia. The kingdom is frozen in eternal winter under the spell of the White Witch. Tempted by her wicked charm (and Turkish Delight), Edmund is captured. His siblings must unite with Aslan, an anthropomorphic lion and bringer of spring, to save their brother.

An element of this production I adore is Shanelle 'Tali' Fergus' movement direction. Bodies are highly present in all scenes, from transitions to a sublime actor-musician ensemble. This is crucial as actors become the landscape, from swirling snowstorms to bustling train sequences you lose yourself within. Not reliant on technology, the power of a child's 'make believe' is enhanced, that we have the power to play and transform our world. And for a little over two hours, even us adults are inspired to believe.

The structure follows that of a play, embedded with musical numbers that often successfully lifts the material. Beginning with an arrangement of Vera Lynn's We'll Meet Again, I greatly admire the consideration to feature a recognisable, published song whilst in wartime England. Thus as Narnia emerges, only original songs belong in the fictional land. Led by Ben Goddard Young, this musicality lends itself to the enchanting beauty of the otherworld. And Joe Keenan's Spirit Of The Moon is magnificent, solidifying the lure of Narnia in one of the most compelling stage images of my lifetime.

The titles of Aslan and the White Witch are prominent even to those less aware of the story. With this regal position, the challenge comes to present their grandeur, unfortunately where this production falters and loses momentum. Katy Stephens' White Witch has a delicately sharp, violent yet poised vocal tone which grounds her power. However, her entrance is emphasised with an industrial crane, rising her above the action. While the level is intimidating, the metallic aesthetic does not match her elegance, and it becomes more overwhelming than her, taking away the White Witch's power to be insignificant.

Aslan appears in two forms, both as a puppeteered lion and a human embodiment. Stanton Wright gifts the role a tender warmth, though his performance is similarly overshadowed by the giant puppet, a struggle to know where we should look. The doubled bodies of Aslan fail to honour his commanding presence, lending itself to somewhat of a messy visual.

Kudzai Mangombe's Lucy is the beating heart of this adaptation. The first to enter the wardrobe, she portrays the role of a child with such naïve conviction, but also a fascinating strength. Her formidable characterisation allows the script to thrive where the tone otherwise struggles. Adam Peck's writing can occasionally over-explain and feel tedious, although as a family show, this can be beneficial for younger audiences, thus not entirely detrimental.

I am thoroughly impressed by Shane Antony-Whiteley's Maugrim, servant to the White Witch. Caution would be advised for families, as this character can appear with a frightening, inhuman disposition. Regardless, the way Antony-Whiteley leaps across the stage in angular, raging bounds is marvellous, a powerful contender as an antagonist.

Chris Fisher continues to solidify himself as one of the most influential names in theatrics, mastering the art of stage illusion to make the impossible possible. The space transforms within the blink of an eye, and working alongside Jack Knowles' lighting, the supernatural before your eyes ultimately boasts a mythical prowess above anything that CGI could replicate.

The most important aspect of Michael Fentiman's production (from Sally Cookson) is the embrace of theatricality, belonging within the world of choreographed design and gifting the joy of play. A huge thank you to the Curve Theatre team, gifting me a ticket for an honest review of such a legendary story. Repeating my earlier sentiment, the initial 30 minutes are the pinnacle of live theatre, impossible to pick my jaw up off the floor! Although wavering, I would strongly recommend The Lion, The Witch And The Wardrobe for all ranges of families, the spectacle unlike anything currently touring the UK.

Booking and additional information: https://www.lionwitchonstage.com/