Once the large, sweeping set pieces came down from the rafters at Syracuse Stage’s Archbold Theatre, the audience was instantly transported into the magical world of Narnia. Snow gently floated onto the stage as mystical creatures pranced around the wintery scene, evoking the holiday spirit and bringing a popular story to life.

Syracuse Stage’s production of ‘The Lion, The Witch and the Wardrobe’ is now playing through Dec. 31. Although the production is thoughtfully directed and features a talented group of actors, the unexpected addition of a musical score in the play lowers the overall experience of the show.

Written by C. S. Lewis, the novel was published in 1950 and is the first of the widely popular ‘Chronicles of Narnia’ book series. The show’s translation onto the stage began in 1998 by the Royal Shakespeare Company. This is the adaptation from which Syracuse Stage’s production derives.

The story revolves around the Pevensie children —Peter, Susan, Edmund and Lucy —and their journey in the fantastical world of Narnia. Through a spare wardrobe in their temporary home, they enter the beautiful land filled with storybook creatures such as fauns, talking beavers and giants.

But the appearance of Narnia is deceiving. The White Queen, or Witch as she is better known, rules over the land in a tyrannical fashion, turning any creature that does not support her into stone. It is up to the children, along with the ever-powerful Aslan, a lion, to rid Narnia of the Witch and her wickedness.

The addition of musical numbers makes this version of the story unique. The show can be categorized as a play with music rather than a musical, in which the plot is centered on song and dance sequences. Royal Shakespeare Company’s ‘The Lion, the Witch and the Wardrobe’ had been created without music intended, so the music, composed by Shaun Davey, does not seem to fit the story.

Although there were only a few scenes with songs and dances, each number seemed forced and extraneous. Their main purpose was to belabor a mundane point that had been made in the spoken dialogue.

One song in particular about Turkish delights, delicious candy that Edmund cannot resist, toed the line of cringe-worthy lyrics. While the music is well composed and orchestrated, its necessity in the play is nonexistent and hinders the overall quality of the production.

One of the shining aspects of the production is the journey that director Linda Hartzell takes the audience on. Hartzell’s imagination is clearly vibrant and childlike, which suited the story’s fantasy wonderland and family-friendly content. Hartzell did not simply fill a stage with actors in costume and set pieces with large snowflakes. She created an alternate world, making sure that each element onstage evoked romanticism akin to a fantasy world.

The saving grace of Syracuse Stage’s production of ‘The Lion, The Witch and the Wardrobe’ is the overall exceptional performance provided by the leading actors. An abundance of talent graces the stage throughout the show, thanks to the cast of professional actors and Syracuse University students in the drama department.

The Pevensie children, each played by an SU student, give expertly contemplated portrayals of characters 8 to 12 years younger than themselves. The actors provide a childish naïveté appropriate to their respective characters’ ages that does not override their intelligence and ingenuity.

Senior Jenaha McLearn delivers one of the most memorable performances as Lucy, the youngest of the Pevensies. Her precision in mastering the mannerisms of a girl half her age elevates her performance to a level exhibited by seasoned professional actors. Her every word had a girlish cuteness that manages not to garner any patronizing and, instead, propels her character forward.

Another standout drama student performance is supporting player Maclain Dassatti, a junior. He portrays the kind and gentle Mr. Tumnus, a half-man and half- faun who befriends Lucy and first introduces her to Narnia.

Dassatti, given the first major musical number of the show, manages to inject some purpose into his song by capitalizing on the urgency of what he is saying. The song is the only one of many that seems to move the story forward in any way. Through his physical characteristics, ballet-inspired leg extensions and elegant trots around the stage, he is endlessly charming and effectively introduces the large roster of mystical characters to the audience.

Despite the show’s unneeded musical score, ‘The Lion, the Witch and the Wardrobe’ achieved many elements that made it a successful production. But it goes to show that classics should remain classic.

nbsilver@syr.edu

Published on December 4, 2011 at 12:00 pm

Contact Noah: nbsilver@syr.edu