The Lion, The Witch and the Wardrobe

This was a compelling adaptation by Glyn Robbins of C.S. Lewis’ “The Lion, the Witch and the Wardrobe”, thoughtfully conceived for young performers. The play provides a wealth of opportunities for emerging actors to explore both principal and ensemble roles across a variety of characters. Kings Lynn Young Players brought the production to life, offering a considerable number of young performers the valuable experience of appearing before a live audience.

The set was simple yet effective, centred on a pair of rotating flats that served as the wardrobe doors before turning to reveal the landscape of Narnia. Other modest but well-judged elements, including the lamppost and Mr Tumnus’ desk, were introduced and removed efficiently by the cast.

The cast, too numerous to acknowledge individually, undertook an impressive range of responsibilities, moving between roles as varied as the trees of Narnia and the fur coats within the wardrobe itself. Each contribution was supported by strong costume work, and there was throughout a palpable sense of hours of work on the costumes. At several points, volume proved an issue. I am sure that projection was addressed during rehearsal, and it is something the company would do well to continue refining in future performances. Admittedly, I was seated towards the rear and the acoustic quality of the venue is not especially generous, particularly when action takes place on the floor rather than the raised stage, but it nevertheless remains an important consideration in a space of this kind.

I was especially impressed that the company performed without a prompt, and I understand that the production was rehearsed in only eight weeks, which makes the achievement all the more commendable. Certain roles carried a formidable quantity of dialogue and, although there were one or two fleeting moments of uncertainty as performers glanced at one another for reassurance, these instances were scarcely noticeable. Those with speaking roles did a tremendous job of sustaining the momentum of the dialogue. Well done all!

Particular congratulations must go to Hemi Grimsby, who played Aslan in Act 2 and, as I understand it, also undertook some directorial responsibilities in selected scenes. Hemi’s characterisation was especially assured, capturing the majesty of Aslan. Henry and Lily, as Mr and Mrs Beaver, worked together well, bringing energy to their scenes. Leo, as Mr Tumnus, made effective use of physical theatre, enriching the role through small, quick movements that vividly suggested the goat-like nature.

Equal praise is due to the four children—Peter, Susan, Edmund and Lucy—played by Jack, Alyssa, Sam and Thea respectively. All four carried their roles with assurance, managing a substantial amount of dialogue with confidence and clarity. I was particularly struck by Sam’s performance, which brought a natural wit and ease to the role.

The trio of the White Witch (Jennifer), Maugrim (Joshua) and the Dwarf (Leon) proved especially memorable. Jennifer’s entrance was striking, gliding onto the stage on a small truck steered by Leon and she delivered the role with commanding projection, clear characterisation and impressive energy. Joshua, in the henchman role, was excellent: fully committed and certainly a young performer to watch with interest in future productions.

This was a successful production by KLYP and it was evident throughout that the young cast took genuine pleasure in being part of it. Congratulations to all involved and I look forward with great interest to the company’s next production.

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