Through The Wardrobe And Into The Blitz: A Darker, Deeper Narnia

Seventy-five years after C.S. Lewis first transported readers through that magical wardrobe, Michael Fentiman's stage adaptation arrives with remarkable theatrical ambition. This production doesn't simply retell a beloved children's story—it unearths the wartime anxieties at its heart, creating something far darker and more resonant than you might reasonably expect from a children’s book.

The evening begins not in Narnia but in the shadow of the Blitz. A haunting rendition of We'll Meet Again, sent shivers down my spine, and set the opening tone as the four Pevensie siblings prepare for evacuation to a safer part of the country. The World War II context is emphasised by the use of Glenn Miller tunes which somehow establish an atmosphere of fear and dread.

The clever staging of the children’s train journey to Scotland, with the cast manoeuvring a bright red steam locomotive across the stage, immediately signals the fresh and creative approach adopted by the creative team.

The four children Lucy, Susan, Edmund and Peter are played by Kudzai Mangombe, Joanna Adaran, Bunmi Osadolor and Jesse Dunbar are excellent and are on stage continuously from beginning to end.

Kraig Thornber's Professor is a delight—a rebellious philosopher whose wit and wisdom provide the perfect counterpoint to Katie Stephens's formidably stern Mrs. Macready. The addition of Schrödinger, a beautifully realized puppet cat, gives a taste of the magnificent, yet to appear, Aslan.

Katy Stephen’s main role as the White Witch is the evil ice queen and her wolves form a fearsome pack especially so Shane Anthony Whitely’s intimidating Maugrim. Her troops are surreal but feral creations that unnervingly move about the stage with speed and agility.

Tom Paris's set and costume design is spectacular. A giant clock face dominates the backdrop, its central cutout serving as a portal that brilliantly visualizes the time-based displacement between two worlds. The transformation from the Professor's home to the magical frozen kingdom happens with speed and alacrity, time after time aided and abetted by Chris Fisher’s magic and illusions.

The creatures of Narnia truly astonish. Max Humphries's puppetry design and Toby Olié's direction achieve something extraordinary with Aslan, represented both by a magnificent puppet (operated by Andrew Davison, Rhodri Watkins and Molly Francis) with the imposing Stanton Wright.

Throughout the production cast members fulfil multiple roles and whilst some of the animals in Narnia are played by actors’ other creatures are depicted by the use of puppets.

Perhaps the production could achieve a better pace as at times the action did seem to slow but this was usually due to a ‘musical interlude’ by way of a song, but the swing band were fabulous and again were all multi-talented.

This is a masterful production which honours CS Lewis’ original book but adds an emotional depth to the proceedings. The war is woven into the fabric of the story, from battle cries echoing through Narnia to Peter's references to his father flying planes beyond this magical realm.

This is children's literature that refuses to be trivialised, acknowledging the grit and gore of conflict while never losing its sense of wonder. It's a fabulous achievement, proving that some wardrobe doors are worth walking through again and again.

Judging by their reaction during the finale, the audience of mostly school parties thoroughly enjoyed the performance and I have to say that I did too!

Sheffield Lyceum Until 18th October