Michael Fentiman’s revival of Sally Cookson’s 2017 adaptation of The Lion, The Witch and The Wardrobe once again confirms why this much-loved production has captivated audiences nationwide. Returning to London for a limited run at Sadler’s Wells, it marks the 75th anniversary of C.S. Lewis’ classic with a staging that is faithful to the original text and thrillingly imaginative. Blending the familiar comforts of a beloved children’s story with moments of ecstatic theatrical invention, it delivers a richly layered experience for all ages.
Tom Paris’s ingenious set of concentric circles conjures the wartime context with a flourish of Blitz spirit before seamlessly transporting the audience into the snowbound wonder of Narnia. Benji Bower and Barnaby Race’s haunting score, with its textured use of cello and bass, enriches the atmosphere, while Shannelle ‘Tali’ Fergus’ choreography fuses folk with urban rhythms to exhilarating effect. Max Humphries’ puppetry is mesmerising: Aslan, brought to life by three puppeteers, is a majestic, otherworldly creation, complemented by Stanton Wright’s deeply humane portrayal of the great lion. At the other end of the spectrum, Katy Stephens’ White Witch exudes sleek, chilling malevolence, towering above the stage with an aura that is both magnetic and terrifying.
The Pevensie siblings – Peter (Jesse Dunbar), Susan (Joanna Adaran), Edmund (Bunmi Osadolor) and Lucy (Kudzai Mangombe) – are played with conviction and charm, grounding the fantastical narrative. At times archetypal, their roles nonetheless resonate, particularly in moments of sibling unity and conflict. The Beavers, portrayed with warmth and wit, offer comic relief while gently subverting traditional gender roles. Meanwhile, Professor Kirk, doubled with a pagan-tinged Father Christmas by Kraig Thornber, lends eccentric benevolence to the story’s arc of rebirth and renewal.
What makes this production stand apart is its willingness to embrace the eccentricities of Lewis’ novel – the blend of whimsy and savagery, innocence and darkness. One moment finds Lucy befriending a neurotic faun; the next, the stage erupts into a full-scale battle against the Witch’s fiendish army. Cookson’s original vision, now refined by Fentiman, revels in these contrasts, creating a world that feels by turns shamanic, psychedelic, and profoundly theatrical. If the early sections occasionally flirt with uneven tone, the second half ascends into something rapturous – a wilderness of imagination that feels unshackled, pagan and utterly alive.
A seamless blend of song, dance, live music and puppetry, this revival is more than family theatre: it is an intelligent reimagining of a cultural touchstone. Ecstatic, magical and richly textured, it is a production that lingers in the imagination long after the curtain falls.
The Lion, The Witch and The Wardrobe runs at Sadler’s Wells until 7 September.
For tickets, please visit sadlerswells.com/whats-on/the-lion-the-witch-and-the-wardrobe
