Theatre Review: The Lion, The Witch and The Wardrobe

As a lifelong admirer of The Lion, The Witch and The Wardrobe—long before it ever hit the big screen—I couldn’t resist the opportunity to introduce my 7-year-old daughter to the story that captured my imagination as a child.

This latest stage adaptation is a feast for the senses, drawing us into the heart of wartime Britain before sweeping us away to the enchanted world of Narnia.

A lone pianist plays a mix of Glenn Miller and modern tunes beside a moonlit clock backdrop, creating a dreamlike transition into the story.

We’re first introduced to the Pevensie siblings—Peter, Susan, Edmund, and Lucy—at a train station as they prepare to leave war-torn London. But their real adventure begins when they step through an unassuming wardrobe into a magical land blanketed in snow and gripped by an eternal winter, ruled by the fearsome White Witch.

From the outset, the staging is striking. The production uses clever lighting, music, puppetry and choreography to tell the tale in an imaginative and immersive way. It’s a true celebration of theatrical storytelling, elevated by a talented cast who seamlessly blend acting and musicianship throughout the show.

One of the production’s standout features is the portrayal of Aslan. A striking puppet, operated by three skilled performers, brings the lion to life with impressive realism. Alongside it, actor Stanton Wright portrays Aslan as a man, adding emotional depth and authority with his commanding voice and presence. At times, the duality between puppet and actor can be a little confusing, but ultimately, it works—offering both the visual grandeur of the puppet and the human emotion that a puppet alone could never convey.

Katy Stephens delivers a chilling and charismatic performance as the White Witch, exuding power and menace. Jez Unwin’s portrayal of Mr Tumnus is warm and memorable, perfectly capturing the faun’s vulnerability and charm.

However, not all creative choices hit the mark. The inclusion of Father Christmas—played by Kraig Thornber, who also takes on the roles of The Professor and the Owl—felt slightly jarring and out of place given the time of year. The staging, too, felt a little stark. Narnia, as described in the books, bursts with wonder and enchantment, but here the set remained mostly black, with minimal projection or backdrops. Costumes were predominantly muted earth tones, which blended into the dark background rather than standing out. The woodland animals were difficult to distinguish, with the beavers in particular lacking clear visual identity.

The props, while functional, lacked the charm and whimsy one might expect in a fantasy tale. A sledge for the Witch, more vibrant set elements, and a richer palette could have truly transformed the stage into something magical.

Stage combat scenes also fell a little flat. They lacked energy and polish, and didn’t carry the dramatic weight they should have in such a high-stakes story.

Musically, the show features original compositions that don’t quite make it a musical but do add emotional texture. Songs don’t necessarily drive the plot forward, but they enrich key moments and keep the audience engaged. Mr Tumnus’s solo, recalling Narnia before its icy curse, was particularly touching. The music reflects the emotional beats of the story—tense, eerie, celebratory—and several numbers incorporate lively folk-inspired choreography.

Despite a few shortcomings, this production remains a magical experience, especially for families. It honours C.S. Lewis’s classic tale with heart, creativity and a sense of wonder. It’s a show that captures imaginations young and old, and leaves you with that glowing feeling only live theatre can give.

A charming and emotionally resonant production—dramatic, heartfelt, and full of wonder. An unforgettable evening for all ages at the Grand Opera House Belfast.