One of the great pleasures of going to see live theater is to witness the alchemy of the production process in bringing a story to the stage. The blending together of the essential elements of a strong story, magic and illusion, music and dance and the creation of believable characters when it works creates emotional engagement and assists in the suspension of disbelief to transport the audience into a different world. The pedigree of the creative team behind this touring version of the Lion Witch and the Wardrobe promises a great deal so it was with great anticipation that we caught up with its UK tour in Woking.

They seem to have decided to use an open stage and reveal the theatricality as we can see into the wings and the fly tower ropes throughout, and the flying wires and counterbalance lift are clearly visible when used negating any chance of illusion. Cast members carry on statues and lamps to act as walls to interiors or are dressed in white robes to symbolize the Winter landscape. Fentiman describes it as the stylized language or framework for the production but while it enables an elegant flow there is no mystery or wonder at what we are seeing. Even in the main illusion of the show, the resurrection of Aslan, we can see the proforma shape being carefully set so it is not a surprising delight when he disappears. The large cylindrical platform at the rear of the stage in the backcloth from which the action is sometimes observed appeared to have a technical fault as the disc covering it got stuck on more than one occasion leaving it half-open.
The puppetry is not as prominent or as “real” as in Animal Farm and The Wicker Husband. Curiously Aslan is portrayed as a two-legged lion while voiced by an actor standing alongside it as a detached character. It never becomes the focus of our attention, simply a symbolic presence. The small cat (136 years old) that bounces around the Professor’s house has no legs either although the puppeteer does manage to give it a good presence. It is up to the large cast of actor-musicians to tell the story and create the mystical world through their words and actions, and they do their very best to deliver.

In Narnia, we meet the brave Faun, Tumnus (understudy Shaun McCourt), the comical Beavers (Christina Tedders and Sam Buttery) and of course the White Witch herself played with an upright majestical air by Samantha Womack as well as a host of other animal creatures played by the Ensemble. The Voice of Aslan is provided by Chris Jared in a shaggy fur coat, and he becomes the focus of our attention rather than the puppet version.
The music by Benji Bower and Barnaby Race are pleasant northern folksy tunes after the initial period setting “We’ll meet again” that help tell the story and are well choreographed by Shannelle “Tali” Fergus integrating the actor-musicians into the action. They are all delivered with energy and clear vocals. Indeed, it is hard to fault any of the performances from a very good cast.

Review by Nick Wayne
Rating: ★★★
Seat: Stalls, Row F | Price of Ticket: £34.50