With thousands of AI‑written, edited or ‘polished’ books being sold, LAURA BEERS hears an eerie echo of Orwell’s ‘novel‑writing machines’
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Narnia monotony
SUSAN DARLINGTON is unmoved by a production full of spectacular tableax but without emotional connection to the characters
The Lion, the Witch and the Wardrobe at Leeds Playhouse
[Brinkhoff-Moegenburg]
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The Lion, The Witch, And The Wardrobe
Leeds Playhouse
FOR a novel that’s about good and evil, Michael Fentiman’s production of CS Lewis’s 1950 children’s classic is curiously monochromatic.
Casting the stage in long shadows makes sense during the opening scenes, when the four Pevensie children are being evacuated during WWII. Reflecting national fear and uncertainty, we see them boarding a miniature stream train that’s borne aloft by a chorus of hands, unsure if or when they’ll ever see their parents again.
The dark lighting makes less sense when the children arrive at a house in the country and are transported to Narnia through a wardrobe. The colour palette here makes the land feel anything but magical, despite the presence of talking animals and the state of perpetual winter.
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