The Lion, the Witch, and the Wardrobe is a classic fantasy novel written by C.S. Lewis, which was published in 1950. The book is part of The Chronicles of Narnia series and is considered a children's literature masterpiece. The main characters in the book are four siblings: Peter, Susan, Edmund, and Lucy, who stumble upon a magical wardrobe that transports them to the enchanting land of Narnia. In Narnia, they encounter talking animals, mythical creatures, and a wicked White Witch who has plunged the land into an eternal winter.
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Generally after I read a classic, I look up the analysis of the plot, characters, themes, and symbols, to make sure I didn t miss anything which I am ashamed to admit is often times the case. After the sepia wartime colours of the opening scenes, she dresses the creatures of Narnia in costumes of hand-knitted homeliness, distinguishing them from the metallic sheen of the White Witch, played by Pauline Knowles with chilling severity.
In Narnia, they encounter talking animals, mythical creatures, and a wicked White Witch who has plunged the land into an eternal winter. The Lion, the Witch, and the Wardrobe is suitable for a wide range of ages, but its target age is generally considered to be children between the ages of 8 and 12. This age group can fully appreciate the imaginative world of Narnia and its adventures, while also understanding the deeper themes and lessons conveyed in the story.
The Lion, the Witch and the Wardrobe review – wraps the audience up in wonder
D o you remember that childhood sensation of pushing your face into an adult’s fur coat and being overwhelmed by its enormity? Or nuzzling into a grownup’s clothes rail and being lost and immersed? That’s the feeling evoked here when Claire-Marie Seddon, playing little Lucy, the wartime evacuee at large in the stately home of Professor Kirke, steps into an enormous teak wardrobe.
As the sides give way to reveal the coats inside, unseen hands hold each garment aloft, giving the impression they have a life of their own. She has no choice but to push through. The wintry landscape she discovers on the other side could easily be her cocooned dream.
This transition – from wood-panelled bedroom to wardrobe interior to forest under snow – is seamlessly achieved in Andrew Panton’s fluid production. Treating the CS Lewis story with absolute seriousness, the director never pauses for long enough for us to question the truth of the fantasy. “You can’t know but you can believe,” goes a song at the end of the show; it could be about the characters putting blind faith in the Jesus-like lion king Aslan or about the audience trusting in the magic of theatre.
It’s a magic achieved with tremendous gracefulness by designer Becky Minto whose set evolves from faun’s cave to beaver’s icy dam to open battlefield with an elemental clarity, aided by the severe angles and sharp contrasts of Simon Wilkinson’s lighting. After the sepia wartime colours of the opening scenes, she dresses the creatures of Narnia in costumes of hand-knitted homeliness, distinguishing them from the metallic sheen of the White Witch, played by Pauline Knowles with chilling severity.
Chilling performance … Cristian Ortega (Edmund) and Pauline Knowles (the White Witch) in The Lion, the Witch and the Wardrobe. Photograph: Tommy Ga-Ken Wan
As a story, The Lion, the Witch and the Wardrobe maintains its popularity because it is a classic battle between good and evil. The fall of Cristian Ortega’s Edmund is shaped by the same archetypal forces that underlie the stories of Judas in the Bible and Kai in The Snow Queen.
Set against this, however, are some less comfortable imperialistic assumptions. These four children have a sense of entitlement that allows them to befriend Narnia’s jolly working-class creatures, knowing their destiny is to rule over them as kings and queens. The lead actors do a good job at quelling these aspects, underplaying the priggishness to create warm and approachable characters whose vulnerability is further explored in the lush Celtic-influenced songs of Claire McKenzie and Scott Gilmore.
“I didn’t expect it to be so good,” said one little boy on the way out.
At Royal Lyceum, Edinburgh, until 3 January. Box office: 0131-248 4848.
“I didn’t expect it to be so good,” said one little boy on the way out.
The book explores themes of betrayal, forgiveness, courage, and the battle between good and evil. It encourages readers to consider the importance of loyalty, sacrifice, and standing up for what is right. However, The Lion, the Witch, and the Wardrobe can also be enjoyed by older readers and adults due to its timeless storytelling and allegorical elements. The book appeals to readers of all ages who appreciate well-crafted fantasy worlds, memorable characters, and thought-provoking narratives..
Reviews for "Recognizing the Age Group that will Enjoy "The Lion, the Witch, and the Wardrobe" the Most"
- John - 2 stars - I found the target age for "The Lion, the Witch, and the Wardrobe" to be confusing. The story seemed too simplistic for older readers, yet some of the themes and content were too intense for younger children. It felt like the author couldn't decide who the book was really meant for. Additionally, the pacing was slow and the characters lacked depth, making it difficult to stay engaged with the story. Overall, I was disappointed with this book and don't think I would recommend it to others.
- Sarah - 3 stars - While I appreciate the imaginative world-building in "The Lion, the Witch, and the Wardrobe", I think the target age range for this book is muddled. On one hand, the themes and language are quite advanced for young readers, yet the writing style and character development are too simplistic for older readers. The story felt disjointed at times and the religious undertones were heavy-handed. Overall, I didn't feel like this book lived up to the hype and suited the target age as effectively as it could have.
- Michael - 2 stars - I found the target age for "The Lion, the Witch, and the Wardrobe" book to be misleading. While it is categorized as a children's book, the content and vocabulary felt more suitable for older readers. However, the plot and character development were lacking, making it difficult to fully engage with the story. The religious allegories were also lost on me as a younger reader. I was left feeling unsure of who the intended audience was for this book, and ultimately, I didn't enjoy it as much as I had hoped.