Birmingham Repertory Theatre presents The Lion, The Witch and the Wardrobe

“I don’t think age matters so much as people think. Parts of me are still 12 and I think other parts were already 50 when I was 12…” – C.S. Lewis

These words certainly reigned true in the Birmingham Repertory Theatre last night, as I found myself transported back to my imagination whilst reading the original tale circa 2002. Adrian Mitchell’s dramatization of the children’s classic The Lion, The Witch and The Wardrobe stunned the minds of everybody in the room.

I cannot have been the only person to have felt goosebumps

Theatre-goers from all ages filled the auditorium and the play was engaging for the whole collective, as I gathered from the roars of laughter induced by the likes of Mr and Mrs Beaver and the puppet, Grumpskin. I even heard a little voice behind me squeal “He’s alive!” to Edmund as he surveyed the ‘animal statues’ in the White Witch’s courtyard. That being said, the production achieved this viewer investment whilst avoiding the crass pantomime-like humour that forces laughter out of mere obligation.

I cannot have been the only person to have felt goosebumps as Narnia suddenly appeared behind the translucent wall of the Professor’s house. Drawing inspiration from the way children play with paper, designer Jamie Vartan thought of “using crumpled paper for snow” and with the help of Richard Pinner, master of illusion, a magical space was created for all imaginations to latch on to. Scenic transitions were fluid and inventive and the costumes were outstanding. Dumbfounded by the realisation of how much time and sweat went into the creation of this world under the proscenium arch, I struggled to take the show at face value and found myself sitting there wondering how the magic was made.

Hearing gasps from the opposite side of the theatre only amplified my anticipation for the iconic lion to come into view

As the lights dimmed for the second half, I knew that the whole room was anticipating Aslan’s entrance. Having flicked through the program and seen images of the puppet’s construction, I knew that this, if well executed, would be the pinnacle of the show. I was not disappointed. Hearing gasps from the opposite side of the theatre only amplified my anticipation for the iconic lion to come into view. Jo Lakin and Mervyn Millar are a deserving of as much an applause as the company simply for the design and construction of the Aslan puppet. Operated by three men and voiced by Nuno Silva, Aslan’s presence onstage evoked widespread awe. Whilst the quality of the puppetry dominated my interest, I must note Allison McKenzie’s expressive performance as the White Witch. Simply haunting, an air of madness surrounded her and she managed to create a complex character out of what I had always considered an archetypal two-dimensional villain.

This performance is a worthy adaption of C.S Lewis’s classic tale; preserving its magic without over-emphasising the religious moral undercurrent or coming across as another example of a trite children’s musical. A great start to the festive season.