Discovering Narnia: Director's Notes.

For many people the C.S. Lewis Chronicles of Narnia books can be as divisive as Marmite – you either love them or hate them. They seem to cause as much debate as the election and the formation of the coalition Government have in recent days. But as much as parents discuss these stories, bringing out either the Christian parable like qualities, or the mix of classical Greek and Roman Mythology; children love them and see the story of Peter, Susan, Edmund and Lucy having an adventure by discovering a magical world, the door of which is through a Wardrobe.

Many children’s books use this type of structure, adults detached and disenfranchised from family life, children left to their own devices and an opening to another world, either real or fantastic. They grow up through their adventures but parents or adults remain the same, often failing through their inability to change.

I came to work on ‘The Lion, The Witch and The Wardrobe’ (the 2nd book in the series) with vague memories of childhood and the knowledge that many use the story as a tool to illustrate the Gospels (a sacrifice in place of many and death defeated because of innocence). However, as a company, with considerable input from the young actors, we have discovered that Narnia is a frightening nightmarish world that reflects the chaos of the war torn reality. In Narnia the children are forced to battle the enemy whereas in reality they have been sent to safety whilst their parents are at war. By defeating the White Witch they are able to cope with the uncertainties of being evacuees and the real prospect and horror of being left as orphans.

In Narnia the Witch's spies are everywhere; no-one, not even within a family, can be trusted and trees have ears. The land has been devastated for one hundred years, harvests have failed and food is scarce. The inhabitants are at their limit ready to turn to the other side if it means they can feed their family and have some kind of normality. In Britain, during the 2nd World War, there were propaganda posters saying that ‘walls have ears’,  people were interned because of nationality not because of political allegiances, language became stilted so as to not give away too much, some were even ready to surrender because of the perpetual bombing and food was eventually rationed
                              ‘Always winter never Christmas’.

In Narnia the children experience victory; winter and famine turn to summer and plenty. They grow up with regal responsibilities as wise Kings and Queens and for a time forget the realities of our world, but however, inevitably returning back through the wardrobe. In returning they have changed, having experienced victory in their own lives and with the knowledge that
    ‘Once a king in Narnia, always a king in Narnia. Once a queen in Narnia always a queen in Narnia.’

Through games and improvisation we have explored some of these chilling themes and looked at recurring situations throughout British history where there has been a culture of fear and propaganda.
  
As a director I chose the Elizabethan period as a style influence for the costumes and music within Narnia, rather than the usual medieval look. This is because not only was it a time of political and religious suppression with fears of contenders to the throne and with Catholic and Spanish spies abounding; but also because we are now within a second Elizabethan era (those from Scotland would say we were in the first). The young people spoke within a Saturday session of surveillance cameras and ID cards, a real fear of terrorism and a mistrust of the young. I am not speaking of Gordon Brown as our equivalent of The White Witch, crying when pushed from his throne; but of a world that is built on mistrust and fear. We discussed how perhaps as humans we need to be a little bit scared as from decade to decade we invent something new, spurning peace and stability. After the “Great War to end all Wars”, we had “World War II” then there was the ‘Cold War’, when this ended we invented the ‘War against Terrorism’. What’s next I wonder?
  
To bring out some of the nightmarish themes in our production the inhabitants of Narnia are masked. We are mixing mask work and puppetry some of which have been made by the cast. The production is complicated and the biggest we have done to date.  It is because of this that it is taking sometime to produce. Parents of the company are getting together to make hairy, scary wigs for the puppets. I’m making a multitude of wire based scrim and papier-mâché animal masks. There are other parents involved in making costumes and Mike is busy putting together the music and turning my set design ideas into a working scale model box. We have Sam Khan fights director up this half term to choreograph the fight scenes and a rod puppet making workshop. There is a huge amount of work still to do and any volunteers are really welcome to help in sewing shirts and skirts and other items. It is an exciting production and stretches everyone however young or old. Everyone is in most of the scenes. We are learning to support each other as a team. The text is written in an old fashioned rhythm but we are all getting the hang of the style slowly. Stage direction are bizarre stating things like ‘Father Christmas swoops in’ and the ‘Turkish delights magically appears’. The production is fantastical, scary, exciting and in some cases topical – I hope you will all enjoy the outcome and the rest of the workshop rehearsals.  

Myette Godwyn - Director