Reviewed by Kate O'Sullivan
Stepping into the world of Narnia at the Garrick Theatre was a delightful way to embrace the season’s magic without slipping into pantomime territory. This production of The Lion, The Witch and The Wardrobe, adapted by Glyn Robbins from CS Lewis’s beloved tale, brought to life the essence of the story while offering a warm, Christmas-y atmosphere.
It was particularly heartening to see the company’s commitment to accessibility, with an AUSLAN-interpreted performance. Inclusive gestures like this enrich the theatre experience and deserve commendation.
The production featured a small, versatile cast, with several actors juggling multiple roles—a challenge met with notable physical and vocal dexterity. Particularly impressive were the some actors portraying the animals of Narnia, such as the wolves, a notoriously tricky task that demands both physicality and subtlety.
Among the standout performances were Rebekah Hannah as the White Witch, or Jadis, for those well-versed in Narnian lore. Hannah commanded the stage with strength and an excellent range of vocal intensity. Ali Louise skillfully distinguished their multiple roles with sharp physical and vocal choices, navigating quick changes with ease. Kody Fellows struck a fine balance as Edmund, convincingly transitioning from bratty sibling to a redeemed character. Meanwhile, Mia Fellows did well in her debut lead as Lucy, capturing the character’s wonder and courage beautifully. Aaron Wilkes also impressed as Peter, blending the protective elder brother with the emerging king.
That said, opening night jitters seemed to surface in moments where some actors rushed through their lines, and we lost some of the sense of wonder and charm that Narnia can have.. Projection was another area for refinement—while a few performers over-projected, creating a sense of shouting, others were so understated that they were difficult to hear, even from the middle rows.
The costumes largely complemented the production’s imaginative world. Particular highlights included the detailed work on both of the Beavers, including some nice makeup, and the White Witch’s initial costume, which was truly striking and added to the grandness of someone who has titled herself a Queen. However, Aslan’s costume lacked the regal lion-like quality one might expect, especially given some of the other costumes, and the White Witch’s second outfit, with its shorter skirt, felt slightly at odds with the otherwise cohesive design.
The box set design was simple yet effective, with clever use of multipurpose blocks and a charming sleigh (a tip of the hat to Russell Fellows for handling it so smoothly). However, some of the magic was diminished by visible backstage elements, like the Wardrobe lurking in full view when it wasn’t in use. More precise lighting design could have helped conceal these distractions and enriched the overall atmosphere. The lighting did, however, excel in moments like Peter’s later conversation with Aslan, creating intimacy and depth. The soundscape added to the world-building (some well timed roars), but more holistic sound design might have better captured the transition from winter to spring and the battle scenes.
Overall, Garrick Theatre’s The Lion, The Witch and The Wardrobe was a heartfelt rendition of a classic story. With strong performances and a clear passion for the material, it brought Narnia to life, even if a few rough edges remain to be smoothed as the run progresses. Fans of the tale—and of seasonal theatre—will find much to enjoy.
Reviewer note: Tickets for this review were provided by the theatre company.