The CS Lewis story actually does lend itself to a musical stage dramatization, and this manufacturing does it extraordinarily nicely. Starting with a rendition of ‘We’ll Meet Again’, so setting the time pretty and squarely in World War II, the opening scenes transfer to a practice station the place kids are being evacuated. It’s right here we meet the Pevensie siblings. I’m not an actor, however I at all times think about it have to be somewhat troublesome for adults to painting kids on stage. But right here Ammar Duffus as Peter, Shaka Kalokoh as Edmund, Robyn Sinclair and particularly Delanie Hayles as Lucy Pevensie as…
Rating
Excellent
All facets of this manufacturing work collectively to make an fulfilling household pleasant musical model of the basic kids’s story.
The CS Lewis story actually does lend itself to a musical stage dramatization, and this manufacturing does it extraordinarily nicely. Starting with a rendition of ‘We’ll Meet Again’, so setting the time pretty and squarely in World War II, the opening scenes transfer to a practice station the place kids are being evacuated. It’s right here we meet the Pevensie siblings. I’m not an actor, however I at all times think about it have to be somewhat troublesome for adults to painting kids on stage. But right here Ammar Duffus as Peter, Shaka Kalokoh as Edmund, Robyn Sinclair and particularly Delanie Hayles as Lucy Pevensie as Susan pull it off. I used to be shocked to learn that that is Hayles skilled debut. Samantha Womack is suitably chilly and distant because the White Witch, while doubling up as housekeeper Mrs Macready, she is presumably much more alarming. Johnson Willis’ Professor Kirk is performed as an excessive eccentric, one thing which the youthful viewers members definitely appreciated. The remainder of the solid double up efficiently as completely different characters, musicians, dancers, and mainly anything required of them.
It turns into apparent very early on that the music by Benji Bower and Barnaby Race, together with Shanelle Fergus’ choreography and Tom Paris’ set and costumes all add additional to the present’s success.
The unique songs are catchy, carried out nicely and don’t go on for too lengthy. In addition, the music accompanying the dancing and motion displays the altering moods and ambiance; it’s in turns tense, creepy and upbeat. Lively dance numbers have hints of Irish and nation dance strikes, however the most effective of the set piece dances must be Sinterklass and his reindeer within the second half. It left me laughing for ages afterwards. Costumes evoke the Thirties and 40s, not simply on the people however the woodland creatures inhabiting Narnia. Jadis, aka the White Witch, has some fabulous outfits as you’d count on, her familiars being suitably scary with some terrifying masks.
Character actions across the stage is easy, the seamless transitions including to the motion with out being intrusive or distracting. An early bout of Pevensie household fisticuffs is realistically scrappy and untidy, not like some later sword fights which appeared just a bit stilted – however that’s a minor niggle, it’s a household present in spite of everything. Having stated that, it does get fairly darkish. There is speak of warfare and loss of life, and a few characters are killed, though (spoiler alert) they arrive to life once more. At one level the White Witch is even flourishing a big bloody dagger.
There are some disappearing and sleight of hand tips which do get slightly misplaced from the place I used to be sitting, these would in all probability work higher in a smaller venue. I additionally discovered the Aslan half a puppet a bit unusual, Chris Jared made up for it as Aslan’s human alter ego.
Moments of comedy are scattered all through the 2 hours, appearing as a foil to the extra sinister moments. There are great nods to WWII comedy tropes; issues being stated solely as soon as and the woodland animals’ resistance group. And you MUST be careful for the lone cellist who seems above the stage trying like a non secular statue, full with halo. All facets of this manufacturing work collectively to make an entertaining household present.
Based on the e book by: CS Lewis
Directed by: Michael Fentiman
Produced: Elliott & Harper Productions and Catherine Schreiber
Set and Costume Design by: Tom Paris
Choreography by: Shannelle ‘Tali’ Fergus
Composition by: Benji Bower and Barnaby Race
The Lion, the Witch and the Wardrobe performs at The Gillian Lynne Theatre till 8 January. Further info and bookings could be discovered right here.