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
Culture
Identity
Psychology
Work
5 min read

Even the office can be a place for self-discovery

What the office makes us feel about ourselves
A model of an office desk and shelves, at which a green plastic person sits leaning into the desk.
Igor Omilaev on Unsplash.

The realisation strikes me as I wrestle to fit my key into the lock on my office door: today I have no memory whatsoever of my journey into work. At my usual time I left the house and got in my car. I drove my usual route to my usual parking space and hopefully I stopped for all the red lights – but in truth I can’t remember any of them. Nor can I remember getting out of my car, locking my car (I hope I did that too) or walking from my parking space to this door, the lock of which is still failing to yield. This, I then realise, is because I am absent-mindedly trying to unlock it with my car key. Rolling my eyes, I reach into my pocket for the correct key… and it is not there.  

Now I’m awake, glancing at my watch; 50 minutes until my first meeting of the day (online). This is enough to drive home again, but not enough to drive home, collect my key, and return to this frustrating door. By now I have established that both coat pockets are empty, so I drop to my knees and start to rummage through my bag.  

It’s not a disaster if I do have to drive home, I can simply stay there and have a WFH day. I am fortunate, in my current job, to have the privilege of deciding this on a day-by-day basis. Many, I know, would love to work from home but do not have the option, but I prefer the office. The smell of black coffee, seagulls yakking on the roof. Doors open and close as colleagues come and go, keyboards tap, and on and off there is distant hum of student voices emanating from a classroom downstairs. In the hive of activity, I hum too, and I definitely get my work done more efficiently.      

I’m interested to analyse this phenomenon through the lens of place attachment. There is a considerable body of research that investigates the way people feel about the spaces that they inhabit – that certain places become meaningful places to be in. Place attachment theorists explore how we can have relationships to places in much the same way that we have relationships to people – feeling a strong pull to return to the familiar, disliking change, and feeling ‘homesick’ for places where we have a strong emotional attachment. Of course, this is usually discussed in relation to the natural world, or to one’s childhood home, or ancestral lands… but why not of the office? Because the heart of place attachment is not really how we feel about places, but how places make us feel about ourselves.  

Either for good or for bad, in the office one inhabits a certain sense of self – maybe not a different self to the one that we are at home – but at work, different aspects of that self are valued differently and are allowed to come to the fore. Perhaps I feel this especially because I am a working mum – it can be a relief to leave the home each day and come to inhabit a space where I am valued for more than my ability to know whether or not it’s PE today, or if there’s milk in the fridge. In the office, I can dwell in a version of myself that I enjoy – one that is paid to think and to write and to teach, a part of the university hum.  

George Pitcher, in his recent article for Seen & Unseen, challenges managers to ask themselves why they are opposing more junior staff working from home. His discussion hints at this same phenomenon of places shaping identities, and Pitcher proposes that managers might resent junior staff working from home, at least in part, because they feel like their identity as a manager is compromised when they cannot sit in their glass-walled office, gazing out over the rows of worker bees, queen of all they survey. As Pitcher puts it, “…if staff aren’t in the office, then what’s the point of being a boss?” 

The Bible too engages with the interplay between one’s sense of self and one’s sense of place. In the Old Testament, before the birth of Jesus, prophets and hymn writers spoke longingly of their homelands, and especially of the temple where they gathered to be assured of their identity as the people of God. “How shall we sing the Lord’s song in strange land?” cries one hymnwriter, exiled far from home, while another writes of how he longs to dwell in the House of the Lord all the days of his life. With this sentiment I can empathise; just as I feel like more of a worker-bee when I am within the hive of the university, I feel I am much more of a Christian when belting out hymns among the Sunday throng than I am among my colleagues at a Monday morning meeting. 

And yet the Bible issues a challenge to me here. Because after the Old Testament comes the New, written after the life, death and resurrection of Jesus Christ, and largely after the destruction of the great “Second Temple” that Herod the Great had built in Jerusalem. With the temple gone, and the region subdued under Roman overlords, the New Testament writers make frequent allusions to Christian believers themselves being temples – temples of the Holy Spirit. This means that, as a Christian, I am urged to think of myself as a “place” of God’s presence in the world – and not just for my own sake but for the sake of others. I am not just part of the hum; I change the hum by being in it. The challenge is to gently bring the notes of my Sunday morning hymn to my Monday morning meeting.  

A long time ago, when I was a little Brownie-Guide, we used to sing a campfire song called “Bees of Paradise.” It was very short and simple:  

Bees of paradise, do the work of Jesus Christ 

Do the work that no one can.  

As a child, I never understood the words, although I enjoyed the pretty little tune that we sang it to, in the round. It comes back to me now, as I rummage in my bag for a key that I know I’m not going to find, and I return to my childhood habit of pondering the lyrics. 

I’ve only got 40 minutes now until my first meeting of the day, it’s time to give up and drive home. Turning resignedly back down the stairs, I resolve to be no less a worker-bee at home than I would have been at the office today. And no less of a Christian either.  

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