NARNIA KIDS ALL GROWN UP
Stage show recalls past adventures
The Lion, the Witch and the Wardrobe has been through the bigbudget Hollywood ringer, as well as numerous stage interpretations. Usually, a lion is a lion, or at least a CGI facsimile or someone in a costume. But in Pacific Theatre’s version of C.S. Lewis’ 1950 novel, the story is stripped down to two actors, the set, and some stagecraft. You’ll just have to imagine the rest.
“I have two actors who have to play multiple roles,” said Sarah Rodgers, who directed last season’s The Christians for Pacific Theatre.
“The story goes inside, outside, we go from winter to spring. All this has to happen with two people. You can imagine that the lighting and set and costumes, and props, really, become huge factors.”
The local theatre has been staging its Lion off and on since 1998. The last production was in 2012. Each time, it’s with different actors and director. Rodgers is eager to put her stamp on the show, which is an adaptation of the novel by Pacific Theatre artistic director Ron Reed. And so she’s collaborating closely with her design team, which includes Lauchlin Johnston (set), John Webber (lighting), Julie Casselman (sound), Sheila White (costumes), and Dianna Lewis (props).
“I have had the great pleasure of having my set designer in the rehearsal with me every single day,” Rodgers said. “I feel like he’s my assistant director. We had a lot of meetings before we went into rehearsal. We both love transformative sets, so we’re really transforming this room. And, without giving away too many secrets, I will say this wardrobe has quite a bit of magic. There are some surprises in this production.”
The Pacific Theatre stage is set up with seating on opposing sides. This has presented some challenges.
“You’re in the arena,” Rodgers said. “It’s interesting to create a bedroom. You have people on either side. When we go to Narnia it’s fantastic having the audience on each side. It opens up the whole world. It really helps to bust open Narnia.”
Props in the bedroom become storytelling devices in the hands of the actors, John Voth and Rebecca DeBoer.
“When we go to Narnia, we’re only using the props in that room. It’s really like children using their imagination and grabbing what you can find in the room for the storytelling. I love that kind of theatre. It’s simple theatricality.”
In Reed’s adaptation, the Pevensie children, Lucy and Peter, are all grown up. They return to the wardrobe that first transported them to Narnia as children, and reminisce about their adventures.
For the siblings, Rodgers “went older in the casting.” Voth and DeBoer are both veteran Vancouver stage actors in their 30s. “It brings a maturity to some of the older roles that they play.”
Rodgers calls Voth, a TheatreSports ensemble player, “a terrific comedian.” He’s also a musician. “We’re going to have live music in the piece,” she said. “I’m capitalizing on his musical skills.”
The director knew that DeBoer was right for the role when the actress demonstrated her skills on one of the most famous Narnia characters. “Of all the people that auditioned, when she did the Snow Queen, that was it.”
Rodgers says she and the actors grew up on the novel. But will it still resonate with younger generations?
“My hope is that it will carry on,” she said. “It’s such a beautiful story. It’s the fact that it comes from something so mundane. I think we all desire that; that out of normalcy, one can open up a wardrobe in a spare bedroom and encounter magic.”