Review
Awe and wonder
Culture
Theatre
5 min read

This Narnia play left me yearning to cheer on good

The Lion, The Witch and The Wardrobe is still relevant at 75.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

 A play set shows a witch and lion on stage.
EMG Entertainment.

This article contains spoilers.  

It’s been 75 years since C.S. Lewis’s The Lion, The Witch and The Wardrobe was first published, and the story is still captivating audiences and even sparking fresh controversy. 

If you hadn’t heard the news, the role of the lion, Aslan, is rumoured to have been offered to Meryl Streep, a woman, for Greta Gerwig’s upcoming film, set to be released in time for Thanksgiving next year. 

I recently saw another adaption of the famous book - Adam Peck’s play - in a theatre in Torquay, as part of a 75th anniversary tour of the UK.  

And having previously read the book and watched two different film versions, I still found myself considering elements of the story I hadn’t previously, hidden depths I hadn’t noticed - even if these didn’t include Aslan’s gender. 

For those not familiar with the tale, it follows the journey of four children through the doors of a magic wardrobe, which transports them into a fantastical kingdom in which a lion reigns but a witch has held dominion for 100 years. 

Under the White Witch’s spell, there has been only winter for a century - “always winter and never Christmas”, as one famous line from the story goes. 

But now, thrust into this story in the fulfilment of a prophecy long foretold, four “sons of Adam and daughters of Eve” - boys and girls, to you and me - come as the lion king returns, and a new day dawns. 

The winter begins to thaw, Spring is in the air, and Father Christmas even shows up to shower the children with gifts. 

But the return of Aslan - and even Santa Claus - doesn’t signal the end of the story. There is still a battle to be fought; the witch still has power and even ensnares one of the children, Edmund, with the promise of all the Turkish delight he could wish for, and the title of a prince. 

It is at this moment - still early in the tale - that the battle between good and evil is clearly laid out, and the forces of light and darkness clash thenceforth. 

In the play, those enslaved by the witch are clad in black to emphasise the distinction, while much is made of the meaning of the name of the youngest child, Lucy: “bringer of light”. 

The imagery is abundantly clear, as it has ever been in Lewis’ Chronicles of Narnia, of which the The Lion, The Witch and The Wardrobe is the first and most famous of seven books. 

And the author, renowned for being an atheist who later became a Christian, leans heavily upon his newfound faith throughout the Narnian tales, and not least in the character of Aslan. 

Yet while you and I may frustratingly regularly let ourselves down, there is also something within us - is there not? - that ever yearns to cheer on the forces of good. 

At Easter, it is especially hard not to see in Aslan’s death and resurrection a striking similarity with the figure at the centre of the Christian faith. 

Indeed, it was this moment of greatest sacrifice - for the “traitor”, Edmund - that most struck me this time around, even though I already knew the story so well. 

At church the following day, as I took Communion, I was still reflecting on Aslan’s sacrifice and wondering whether Edmund more closely resembles the average Christian - myself included - than the older, nobler brother, Peter, in whom most of us would prefer to see our likeness. 

My mind returned to a moment in the theatre that had humbled me, when the lady sitting in front of us handed me £20 to treat my children for being “so good”, having at the interval made me bristle by asking them to sit quietly and stop kicking her chair. 

“Fair enough?” I hear you suggest. Well, perhaps, but I didn’t think it until that humbling moment after the curtain had closed. 

My son later told me he hadn’t thought the lady had been unkind, which again got me thinking about my own imperfections and need to be more childlike. 

Yet while you and I may frustratingly regularly let ourselves down, there is also something within us - is there not? - that ever yearns to cheer on the forces of good. 

I doubt many audience members were rooting for the witch, while I suspect most can also understand the need to “beware the witch”, as one song from the play puts it 

Another biblical parallel is the fulfilment of a prophecy long foretold, while both the Bible and The Lion, The Witch and The Wardrobe highlight the special significance of someone innocent dying to save the guilty. 

There is even a clear reference at the very start of the book and play to one of Lewis’ most famous pieces of theology, when the professor in whose wardrobe the children later get lost asks them a question as they consider whether or not to believe Lucy about the magical kingdom that she first glimpsed. 

She’s either lying, mad or telling the truth, the professor says, in much the same way that Lewis says of Jesus Christ’s own central claim: he’s either “mad, bad or God”. 

As for the success of the play, as someone who no longer lives in London, I was certainly impressed by this West End product. 

The scene changes are creative, aided by music, dance and possibly even a trapdoor - my children and I had different opinions on how the magical disappearances of certain characters were achieved. Maybe it truly was magic. 

There’s also the nice touch of the play starting even before it officially begins, through the twinkling of a soldier’s fingers upon the keys of a piano while the audience take their seats - perhaps to help us turn our minds from a sunny day in the English Riviera to dreary London at the time of the Blitz. 

So, do go and see the play if you get the opportunity - it’ll do you good and make you think, whether or not you choose to consider if the lion is male or female. 

Article
Community
Culture
Sustainability
Wildness
5 min read

Hedgerows are boundaries, but they don’t divide so much as abound

The lines we draw between land and lane connect us.

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A Devon lane lined by hedges.
Down in Devon.
Craig Cameron on Unsplash.

In May and June, the Devon hedgerows that hold the landscape outside my window are at their fullest, most colourful state of being. Walking the narrow lane that runs away from our house means walking between high hedgerows that rise like soft green walls either side, which really, means walking between ancient living things, because these hedgerows are old. Devon has some of the oldest hedgerows in the country, and so the world – older than the Parish churches whose towers I can see to the south, east, and west, which rise like old-growth trees out of a blanket of green fields.  

Early Bronze Age farmers had to clear woodland to make their fields, and sometimes they left strips of woodland to mark boundaries. These are our oldest hedgerows. They are often found on parish boundary lines, and can support over 2,000 species, also acting as important wildlife corridors for many of them. To roughly date a hedgerow, you count the number of species in a 30m stretch – one species equals 100 years. I have taken to counting random 30m stretches of the hedges that line the lanes near us, and have concluded that we are surrounded by hundreds, in places thousands of years of history – of braided hawthorn and blackthorn, hazel and oak, pink campion and bluebell whose bulbs hide in ancient earth banks that many of the hedgerows sit on.  

Now, in these spring hedges, hawthorn is in blossom, nettles overflow with prickly exuberance, and somewhere deep in the tangle a blackbird tunes its song. The hedges are thick with memory stitched together from centuries of hand-laying, stock-keeping, quiet watching. They are Devon’s old boundaries, but they do not divide so much as abound. Life spills from them: wrens and mice, vetch and violet, and so many more things unseen. These are not just boundaries that mark where other things like fields and roads begin and end then; they are living spaces in their own right. They are pathways for diverse life, they are structures that hold home and shelter, food and safety, they are corridors that contain history and story. They are not just edges, they are the centres of whole lives and worlds.  

Walking here one May morning, I find myself wondering about the lines we draw – between land and lane, but also between ‘us’ and ‘them’ – and whether these lines too might be porous like the hedgerows, which have lived for so long not through independence but through care and relationship.  

The hedges speak paradoxes that I am confronted with every time I go for a walk – of division and abundance, of separateness and connection, of containment and invitation. Lately, I am sitting with these and am coming to understand a threshold that the world offers me: between independence and interdependence. But the truth is I’m not very good at interdependence. I have so often retreated behind the wall of my self-sufficiency, but I am trying to pull that wall down and replace it with a porous and lifegiving hedgerow.  

We draw lines – around ourselves, and between people, nations, beliefs, social classes, politics. Sometimes these lines are for safety, sometimes for exclusion. But the hedgerows tell me that it is possible to hold a line and also to let light and life flow through it and shape it. They tell me that these lines are not end points but invitations to communion.  

In The Left Hand of Darkness, Ursula Le Guin wrote:  

“…I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one's country; is it hate of one's uncountry?”  

Le Guin’s work of science fiction is about otherness and connectedness, with different species having to learn empathy in order to collaborate and communicate. The darker the events in the book, the brighter the hope and relationship. The book feels like it was written for now, for this world.  

On my hedge-edged walks I am in the presence of lives so unlike mine – plants, creatures, the people who have tended and cared for these hedges through generations.

In a world whose people are persecuted, othered, tired, it is easy to believe that the way of things is division and separation. But hedgerows suggest another way to live: layered, porous, complex and interconnected, creating space not just for encounter but for new life through that encounter. This is how I picture the Kingdom that Jesus speaks about and so often found solace in: a world of intermingling and ever-growing aliveness. I think Jesus would have walked with the hedgerows had he lived in Devon. I think he would have used them to speak of boundary-crossing between heaven and Earth, clean and unclean, Jew and Gentile. I think he would have pointed to them and said, see the tangled beauty of these? They are what the Kingdom is like: held and open, living and lifegiving. This is what I want our future to be too.  

As I walk these old lanes, I am deepening into my hedgerow apprenticeship. I am learning to sink my roots in, to tend boundaries with care, to make space for life. I am also finding that there is nothing in the hedgerows that speaks of self-sufficiency. These ancient, interwoven green features that have defined this landscape are here because of relationships between species. It is easy to talk about the interconnectedness of everything, it is another thing to try to live it – to live like gifts, reciprocity, community, are things that might take the weight of our time. These old hedgerows give me a foothold though – they enliven the overused but hard-to-live idea of interconnection, they show me what it looks like and that it is an approach to life that is patient, strong, sustaining, real.  

When I reach out my hand I can usually find something edible or beautiful in the hedgerow depending on the time of year: blackberry, hazel, oxeye daisy, pennywort, primrose. Yesterday, it was the cow parsley that really caught my attention: its frothing, foaming flourishing. In a few weeks it will give way to what comes next, just as it has always done, just as this world will always do. On my hedge-edged walks I am in the presence of lives so unlike mine – plants, creatures, the people who have tended and cared for these hedges through generations. I am also in the presence of relationship, and of hope.  

Now, with so many crises bearing down on the world, and with anxiety and despair blooming, it is the hedges that remind me of other, older, wiser ways to be. It is the hedges that show me how to root deep into solid ground, and how to reach out to others, and to light, which are so often the same thing. 

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