Review: The Lion, the Witch and the Wardrobe

Review: The Lion, the Witch and the Wardrobe

03-12-25 Lowry, Salford Quays by Jamie Griffiths

The Lion, the Witch and the Wardrobe arrives at Lowry as a beautifully made festive spectacle, full of imagination, music and emotional warmth. It is a production that embraces both the intimacy of storytelling and the sweep of fantasy, making it an ideal winter escape for families.

The music is one of its most impressive achievements. This cast does far more than accompany the story. They build a folky orchestral landscape live onstage, weaving strings, percussion and rich vocal textures into something earthy and atmospheric. The sound feels ancient and rooted, perfectly suited to a tale that blends myth, magic and childhood wonder. The musicality alone is worth the ticket.

Visually, the show makes superb use of the Lowry’s stage. The design is minimal yet ambitious, using simple shapes, shifting light and expressive movement to conjure forests, snowstorms and the quiet mystery of the wardrobe itself. The puppetry is exquisite, and Aslan’s arrival draws genuine awe. The lion feels powerful, dignified and deeply present, guided by puppeteers who work with extraordinary precision.

The cast finds a strong rhythm throughout. The Beavers deliver exactly the right amount of comic relief, bringing warmth and timing without tipping into silliness. The Pevensie children anchor the story, each offering sincerity and openness as they navigate Narnia’s shifting dangers. Joanna Adaran, Jesse Dunbar, Kudzai Mangombe and Bunmi Osadolor create a wonderfully cohesive quartet, each offering a sharply defined personality and a warm, believable sibling chemistry that gives the production its emotional centre.

Katy Stephens’ White Witch is refreshingly controlled. There is no pantomime villainy here. Instead, she plays the role with a Cruella de Vil sharpness, crisp and stylish, favouring poise over spectacle. It is a clever interpretation and a welcome antidote to broader versions of the character. Even so, with the production’s rich pagan undertones and earthy musical palette, there is a sense that the Witch could push further into the nightmarish, folkloric territory that the show hints at. But Stephens remains magnetic, an actor of immense craft whose choices shape the coldness of Narnia with elegance. It’s worth noting that at the beating heart of every thrillingly scary scene is Maugrim, played by Shane Anthony Whiteley who is genuinely terrifying, bringing a feral physicality and snarling presence that raises the stakes every time he steps on stage.

What makes this revival shine is its balance. It is magical without being saccharine, perilous without being overwhelming, and imaginative without losing clarity. The production is built for families, but it never talks down to them. It trusts the power of storytelling, music and theatrical invention to guide the audience through the wardrobe and back again.

A beautifully executed, musically rich and visually striking adventure and a perfect family treat this festive season.

Get tickets from the official site HERE