The Lyceum, Edinburgh
The Lion, the Witch and the Wardrobe is a well-loved and familiar tale with a guest spot for Santa Claus; no wonder it’s become a staple family Christmas show. And the Lyceum’s production starts off wonderfully; the design (by Becky Minto) is breathtaking: the all-important transition from Britain to Narnia eliciting an audible response from the audience.
The parallels between the two worlds (and Narnia’s appeal) are highlighted by the double casting: both places are being torn apart by war but, while in the real world the children are bystanders, exiled from their home with no option but to wait things out, in Narnia they play an active role; they are no longer helpless children, sidelined and ignored.
It’s a shame, then, that some elements of the play seem almost perfunctory. Peter’s battle with Maugrim, for example, lacks any real sense of menace. Some scenes, most notably Aslan’s murder – but there are others too – are crying out for a chorus: ‘Come, every spirit, every wraith,’ chants the White Witch, played with wonderful malevolence by Pauline Knowles. But no one comes, or hardly anyone: three makes for a very sparse crowd. In Manchester, student choruses seem quite the thing; we’ve seen actors-in-training from local universities employed in several professional productions there and this might have been an idea here. The Lyceum’s Narnia would be more convincing if it were more densely populated.
The children’s delivery is a bit stage-school and declamatory for my taste; they’re not actually kids, of course, but young adults, which might account for the vocal tics as they try to make themselves sound more youthful. And I wish that Aslan were more than just a man in a fur suit.
That said, it’s still a magical show in places, with spark and vim enough to keep a young audience entranced. The final battle scene is beautifully done, all lights and ribbons and roaring sound effects. At its best, this play is very good indeed. It’s just a bit uneven, I suppose.