In Other News

See Will Poulter in ‘Detroit’

Posted August 4, 2017 9:30 am by daughter of the king 6 Comments

As Narnia fans continue to wait for more Silver Chair news, previous cast members are involved in many other projects.

Ben Barnes will be appearing in “Marvel’s The Punisher” on Netflix. No release date for the series has been announced, but Barnes recently discussed his role in an interview.

Will Poulter stars in ‘Detroit’, a docudrama about the 1967 riots in Detroit, Michigan. The film opens world-wide August 4.

Watch an interview with Poulter here:

And view the trailer here:


Georgie Henley stars in “Access All Areas”, a comedy about a gang of teenagers at a music festival.

C.S. Lewis Coming to Broadway in October

Posted August 3, 2017 2:32 pm by The Rose-Tree Dryad

This autumn in New York City, the Fellowship for Performing Arts will be reviving William Nicholson’s Tony-nominated and Olivier Award-winning play Shadowlands. Directed by Broadway veteran Christa Scott-Reed and set to premiere this October, the play tells the love story of C.S. Lewis and Joy Davidman:

In its first New York revival, William Nicholson’s award-winning play Shadowlands follows the unlikely and true love story of renowned Oxford scholar and Christian apologist C.S. Lewis and the much younger Joy Davidman, a Jewish-American writer, former Communist and Christian convert. The smart, brash Joy bursts into Lewis’ sedate, middle-aged life and upends it. Lewis is as shocked as anyone to discover that he and Joy have fallen deeply in love – and then almost immediately he must contend with the equally deep pain of losing her when she is diagnosed with terminal cancer. Full of great humor and keen insight, the play is a moving portrait of love and loss, faith and doubt, as inspired by Lewis’ own A Grief Observed.

Nicholson’s Shadowlands is best known for its 1993 film adaptation starring Anthony Hopkins. The upcoming Fellowship of Performing Arts stage production follows Max McLean’s portrayal of Lewis in A Most Reluctant Convert. (See NarniaWeb’s review for the gripping one-man play here.)

“It’s outstanding timing that FPA audiences will see Shadowlands so soon after seeing Max’s wonderful show The Most Reluctant Convert,” says Director Christa Scott-Reed. “On so many levels, Shadowlands is the natural next step for an audience member who is learning more about C.S. Lewis’s journey of faith. In The Most Reluctant Convert, we see Lewis slowly, and, yes, reluctantly, opening himself up to God and then Christianity. In Shadowlands, we see him slowly and as reluctantly opening himself up to love and then marriage. In The Most Reluctant Convert, we see him find his faith. In Shadowlands, we see him at risk of losing it.”

Shadowlands premieres on October 17th and is scheduled to run until January 7th. Tickets on sale soon. For more information, check out The Fellowship for Performing Arts’ website.

Thanks to ‘Just Queen, not High Queen’ for the alert.

NarniaWeb Reviews “The Most Reluctant Convert”

Posted July 18, 2017 1:27 pm by daughter of the king 2 Comments

In C.S. Lewis on Stage: The Most Reluctant Convert, Max McLean (writer, performer, co-director) takes the audience on a journey through C.S. Lewis’ early life and his dramatic conversion story. While at times the play can feel a bit heavy, it never turns into a lecture but remains an intense drama about one man’s inner conflict. View the trailer and purchase tickets here.

The play opens with a commentary on pain and “when I was an atheist,” and ends with wonder and the absolute certainty “now I believe,” In between, fans of Lewis’ work will probably recognize many passages as McLean drew on various letters, books, and essays to create an almost seamless tale.

The set is simple, mostly static, and relies on McLean’s admirable performance to fill the stage. The focal points are photographs projected onto the back wall and a comfortable armchair. The photographs showcase various people and authors who influenced Lewis as well as important locations, such as the trenches in WWI, the exterior of Magdalen College, and Addison’s Walk, a place where he had a life-changing conversation with J.R.R. Tolkien. The armchair is where Lewis sometimes relaxes like he is having a companionable chat with the audience, and the lighting is warm and fills the stage. Other times he seems trapped in one place as he describes the absolute presence of a supreme being and the fear that his mind is not alone, and the lighting is cold and focused in a way that feels almost claustrophobic.

Although there is no intermission, the play is neatly divided into chapters with brief pauses in between. Most of these sections are spent describing the various teachers and authority figures in Lewis’ life and how they influenced his experience with faith and religion. Some parts are quite humorous, such as the description of his tutor, and when he became friends with Hugo Dyson and Tolkien and frustratingly realized he was surrounding himself with Christians. Other parts are sadder, such as his mother dying of cancer, and the horrors of WWI and realizing his own mortality.

The parts that seemed to resonate most with the audience were the ones where he talks about a deep longing and a search for joy. There are books all over the stage that Lewis interacts with as he talks about how various works influenced him, but one of the most gripping descriptions is the first time he read Phantastes by George MacDonald. The experience “baptized” his imagination, and was “the essential story of my life, the search for an unsatisfied desire, a desire more desirable than any other satisfaction.” Later, he talks about how joy is more than just happiness, and how he found in himself “a desire which no experience in this world could satisfy.”

Even with such moments of intense emotion, the audience is given room to breathe. Some moments are intentionally comedic, like when he says many people think he is a Puritan and then immediately takes a drink from his liquor cabinet. At other moments the audience laughs not because the subject matter is particularly funny, but because the story is sometimes delivered with an almost embarrassed demeanor that holds true to the concept of Lewis being “the most dejected, reluctant convert in all England.”

At first glance, the subject matter seems like it would appeal to only a specific audience, but the play manages to avoid preaching. McLean said in a discussion with the audience afterward that he was “interested in how this piece lands with those of a different worldview.”

Convert ends before Lewis begins writing the Narnia books or meets Joy Davidman, but the Fellowship for Performing Arts will be performing a version of Shadowlands, the love story of Lewis and Davidman, this fall in New York City.

Vote For Your Favorite Chronicle of Narnia

Posted July 8, 2017 8:31 am by Glumpuddle 23 Comments

Every so often, we like to poll NarniaWebbers about the most basic question: Which of the seven Chronicles of Narnia by C.S. Lewis is your favorite?

To vote, go to the homepage. The “Opinion Poll” is in the upper-right corner.

If you are like many readers, the answer to this question can change over time (even day to day). But at this moment, which book would you give the top spot?

Post a comment below to explain your vote.

Narnia Music at Michigan Philharmonic

Posted June 28, 2017 11:43 am by daughter of the king 2 Comments

The Michigan Philharmonic’s 2017-2018 season will include music from The Lion, the Witch, and the Wardrobe score by Harry Gregson-Williams. The concert, entitled “Philharmonic Thriller”, will take place on October 21, at the Plymouth Arts and Recreation Complex. Music from several films in addition to Narnia will be performed, including Twilight, Harry Potter, and Superman Returns.

Tickets are available at

If you have the chance to attend, be sure to send us a spy report and tell us about the experience!

NarniaWeb Reviews Prince Caspian at The Logos Theatre

Posted June 20, 2017 9:56 am by daughter of the king 4 Comments

Review: Prince Caspian’s First Time on a Professional Stage
By Daughter of the King

TAYLORS, SC – If the essence of Narnia is a longing for home and the joy in finding it, then the Logos Theatre’s production of Prince Caspian could be a home away from home. (Trailer)

Upon entering the theater, the audience immediately sees two set pieces on opposite ends of the stage in front of the curtain: a tower on Miraz’s castle with a telescope at the top, and Trufflehunter’s den. Two different sides of the story soon to be brought together by the title character.

Telmarine Backstory

The play opens with a brief overview of the Telmarine backstory as told to a baby Caspian (McClain Preston) by his Nurse (Nicole Stratton). Those who are familiar with the book will recognize what is happening, and those who haven’t read the books or are only familiar with The Lion, the Witch, and the Wardrobe, learn about what happened to Narnia since the Pevensies left. The opening also establishes Caspian’s role and his importance to Narnia early on so the audience has a hint of what’s to come.

Nurse with baby Caspian

The story continues from there very much like the book format starting with the Pevensies on a train platform. All four are excellent in their roles. Peter (Jeremiah Johnson) felt like the High King had walked right out of the book and onto the stage. Morgan Naegel as Lucy was occasionally hesitant with her delivery, but was always sincere during the more emotional parts. Susan (Laurel Williams) was a perfect blend of caring older sister and reluctant believer, while Edmund (Joshua Schuyler) balanced the character’s serious and humorous sides.

Drawn into Narnia

One of the most visually impressive special effects is the transition from England to Narnia. It’s very simply done with the crew moving the set pieces around the Pevensies as though they’ve been caught up in a magical whirlwind, but the lighting and music make the moment very dramatic and wonderful to watch. (Watch the scene)

“This is magic – I can tell by the feeling.”

The dialogue follows the book almost exactly for a good portion of the play, including most of the conversation about where the children are going to find food after they splash about in the ocean (another wonderful visual effect). Even so, the story moves fairly quickly to the discovery of the ruins of Cair Paravel, which featured one of the more poignant moments. After discovering the chess piece, there is a brief, but heartfelt flashback from Peter’s perspective of what Cair Paravel was like when they were last there.

The story lingers a little longer when they find the Treasure Chamber, establishing some important plot points (such as Susan’s horn), while also allowing for emotional depth. There is a definite sense of joy at finding their home, and loss that so much time has passed. Schuyler was particularly good in this scene as he simply but deeply expressed Edmund’s sorrow for what happened the last time. Watch the scene:

Even though book readers probably know what to expect, the show still manages to pull the audience in with nearly seamless transitions between scenes with very few pauses as well as bringing the action as close as possible. Such was the case with Trumpkin’s (John Harrett) introduction, as the Telmarines carried him kicking and screaming all the way down the center aisle to the lower end of the stage. Harrett played the comedic moments well, and also performed the more serious moments with a great deal of dignity.

Trumpkin is startled by the Pevensies after being rescued

The play again continues much like the book with the narrator taking over telling Caspian’s tale from Trumpkin, but then it actually expands on the story with more time in Caspian’s youth as well as involving more Telmarine characters.

Caspian’s Childhood

We spend more time with the Nurse as she tells a young Caspian (Brinton Stratton) tales about Aslan (voiced by Nicky Chavers), Narnia, and his parents. This part also introduces Anwen (Elise Snow), a maiden in the court, and Jaco (Jedidiah Johnson), Caspian’s sword instructor. Both characters support Caspian after the Nurse is sent away and later aid Doctor Cornelius (Zachary Johnson) in helping Caspian escape. Usually, the play transitions to a slightly older Caspian (Dawson Mackey) before the Nurse leaves, but at Saturday’s performance Brinton Stratton played both parts. This may have been why he stumbled over his lines a few times, but he was utterly sincere throughout his performance, and cried real tears when Caspian and the Nurse are separated.

The separation is one of the more heartbreaking moments in the play. After an upset Caspian declares that Aslan isn’t real and is gone just like his parents, the Nurse presents him with a locket featuring a picture of his parents on one side, and her on the other. She then shows him her own locket with his parents and Caspian inside. It is a tender moment where they both promise to wear the lockets and always remember.

Nurse tells Caspian stories of Old Narnia

The play does slow down a bit during Caspian’s childhood, but the time is well spent. The Telmarines are given more emotional depth early on rather than waiting until near the end like the book. Some of them are clearly afraid of Miraz (Christian Lamas), who is proud and cruel without becoming an evil stereotype. Prunaprismia (Rebecca Swager) is prim and snide, with little to no compassion for Caspian. There are also some small, easy to overlook moments that nevertheless showcase the production’s attention to detail, such as Destrier reacting to Aslan’s name even though he’s just a dumb beast, Caspian wishing to learn navigation even though Miraz has forbidden it, and the entire title of Caspian’s grammar book.

Caspian (Sam Singleton) and Doctor Cornelius are a lot of fun to watch. Caspian’s eagerness to learn and his longing for Old Narnia are well expressed, and Cornelius’ brisk but solemn tutelage also feels true to the book.

The set pieces continue to be impressive throughout the show. The characters moved almost without pausing between the large, rotating pieces that make up the interior of the castle to the tower that is a permanent fixture on one corner of the stage.

Astronomy lesson with Doctor Cornelius


It takes a while for any sense of urgency to build up, but Anwen pulls Cornelius aside after the conversation on the astronomy tower, implying Caspian may soon be in trouble. After that, the story moves quickly again. Caspian’s goodbye to Cornelius is just as touching as in the book, and the addition of Jaco and Anwen waiting with his horse to send him away enhances that moment. The audience and Caspian know that some Telmarines are still loyal to him, which makes more of an emotional impact.

Caspian’s flight is the first time he rides the extremely impressive Destrier puppet, and it is also the audience’s first look at the Narnian trees. Some are clearly people on stilts, but the costumes suggest bark and leaves and the audience’s imagination fills in the rest. A few of the trees are even more impressive with actors on wires rising up from beneath the floor of the stage until they almost reach the rafters overhead.

Caspian escapes on Destrier

Caspian meeting the Old Narnians is one of the funnier parts of the play. There is a lot of rapid, overlapping dialogue between Trumpkin, Nikabrik (Stephen Warren), and Trufflehunter (Thomas Allen). But the tone is lighthearted rather than mocking. For the most part, the Narnians are actually quite impressive with the actors moving very much like the creatures they are portraying, particularly Rachel Bjorkman as Pattertwig and Amber Swager as Camilo the Hare. Unfortunately, that wasn’t true across the board as the centaurs were underwhelming. Although Glenstorm (Matthew Hainsworth) had an imposing and solemn presence even if he didn’t look much like a centaur. This part also introduced one of the odder departures from the book: Mrs. Trufflehunter (Allison Craft), who seems to exist solely for a “quit badgering me” joke between the two badgers later on in the play.

Trufflehunter protects an unconscious Caspian

The play doesn’t include the various skirmishes described in the book, but instead opens the second act with a scene having several wounded animals entering Aslan’s How followed by the conversation about blowing the horn. The audience is made aware that time has passed since the Narnians headed for Aslan’s How at the end of the first act without an extended action sequence that might be necessary in film.

Journey to Aslan’s How

The story slows down again much like the book as the play goes back to the Pevensies and Trumpkin. Both the duel and archery challenge from the book are included, although the fight choreography is somewhat similar to the movie, especially the end with Edmund standing over Trumpkin. Nicknaming Trumpkin the DLF is almost word for word from the book.

“It was not like the silly fighting you see with broad swords on the stage. […] This was real broad-sword fighting.” Prince Caspian, ch. 8

Much of the rest of the journey to the How is also like the book, but not all of it. Lucy attempting to wake the trees is on the same night as meeting Aslan rather than the night before, and the trees don’t show any signs of waking. There is also a brief interlude where Miraz asks Sopespian (Joe Hainsworth) how construction on the bridge is progressing even though it was already established that there is a bridge at Beruna’s Bridge.

The heated conversations between the characters about which direction they should go and whether or not Lucy saw Aslan are well performed. Williams especially shines during these scenes, clearly showcasing Susan’s hesitance and fear as she is the last to follow Lucy.

The Aslan puppet is large and not only moves impressively, but Chavers’ performance is also impressive with a majestic voice that perfectly captures the not tame but good aspects of Aslan. While the movies may have had a more realistic looking lion, the movies don’t have Aslan walking off the stage and down the center aisle past the audience. It was a great moment as Aslan walked past, and then the Pevensies and Trumpkin followed.

Return of the Lion

The High King in Command

The Sorcery and Sudden Vengeance scene had intense music and lighting, and Nikabrik, the Hag (Mary Beth Smith), and the werewolf (Jonah Cofer) were suitably sinister when delivering their individual lines, but they broke the tension by breaking into maniacal laughter a few too many times. Even so, the sudden blackout just as Caspian is bit and Peter, Edmund, and Trumpkin charge in is chilling. Book lovers will appreciate the scene that follows with Caspian being awed by Peter and Edmund’s presence and Peter insisting that he is not there to take Caspian’s place.

The discussion of the challenge is shortened, with the conversation between Glozelle (Marshall Preston) and Sopespian about their motivations occurring after they have already goaded Miraz into accepting the challenge. It makes the scene somewhat more disturbing as they reveal that even Miraz’s supporters tire of his rule after they have already pretended to show concern for Miraz.

After this point, the story quickly jumps back and forth between the duel and the romp, showing what was happening simultaneously. Bacchus and Silenus were not included, and the romp consisted mostly of dryads, forest creatures, and Telmarine women they gathered on their way. The trees awakening was one of the greatest moments as, after being so still in the prior scenes, they all bowed to Aslan at the same time. The river god was even more impressive. The actor flew up out of the water through the cracks in the bridge as it crumbled into pieces after Aslan roared.

The trees awaken

Single Combat

Although the fight choreography for the duel was well done, the emphasis was on the emotional beats. The lighting was tinted red, and Peter and the Narnians’ desperation was clearly shown. During the middle of the fight, dryads abruptly ran into the center of the stage and the scene transitioned back to the romp with Aslan standing in the exact same spot where Peter and Miraz were dueling moments before. The emotional parts of the story continued to be the emphasis as Aslan healed the Nurse. The audience was closer to crying during that scene than any other time during the play.

The scene transitioned back to the duel in basically the same way with Peter and Miraz abruptly running to center stage and continuing the duel. It was slightly jarring to go from one scene to the other so abruptly, but it kept the action flowing in a more direct way than finishing the duel and battle before going to the romp would have done.

Peter vs. Miraz

The battle itself was also well staged. The majority of the stage was covered in a sinister red light with the fighting happening very slowly, but there was also a brighter spotlight that moved to different parts of the stage. The characters in the spotlight would fight at a very fast pace. This staging allowed some character moments to be the focus while also having a lot of action happening at the same time. The best parts were Reepicheep weaving in and out of the fight before being wounded, Jaco rushing to save Caspian after another Telmarine soldier pins Caspian down, and the trees charging in and beating off the Telmarines with their branches.

The rest of the play is mostly focussed on the emotions. After the longing for the old days throughout most of the play, there is definite joy once Narnia has been restored. The healing of Reepicheep’s tail is one such moment (and a neat special effect). The reunion of Caspian and his Nurse is also joyful, though tearful as well. There is also some bittersweetness, as Jaco volunteers to be the first Telmarine through the door into the other world (his disappearance was another of the amazing special effects). The tone is bittersweet again as the Pevensies leave. And it ended as all adaptations of Prince Caspian should: with a hearty laugh over Edmund leaving his new torch in Narnia.


King Caspian kneels before Aslan

Overall, Prince Caspian at the Logos Theatre is, quite simply, good theater. Even theater-goers who aren’t Narnia fans should enjoy the show. The script, actors, and effects are all amazing. Some of the more visual aspects seems to have been inspired by the films, such as some of the costumes and the Treasure Chamber set design, but the vast majority of the show is clearly inspired by the book and a desire to be true to C.S. Lewis’ vision.

The final run of Prince Caspian will end in April 2018. Order NarniaWebber discounted tickets.

The Magician’s Nephew at 2018 Shaw Festival

Posted June 16, 2017 3:45 pm by daughter of the king 2 Comments

Narnia fans may have more than one opportunity to see a stage production of The Magician’s Nephew next year! The Shaw Festival has announced that an adaptation of The Magician’s Nephew by Michael O’Brien will open the 2018 season. The director will be Tim Carroll, who directed the Stratford Festival’s production of The Lion, the Witch, and the Wardrobe last year.

The Logos Theatre also intends to perform a production of The Magician’s Nephew in 2018. Dates and box office information have not yet been announced for either theater.

A few NarniaWeb moderators saw Stratford’s production of The Lion, the Witch, and the Wardrobe, and did a podcast review.

Prince Caspian Discounted Tickets for NarniaWebbers

Posted June 8, 2017 12:28 pm by Glumpuddle 5 Comments

The Logos Theatre sent us this video, offering NarniaWebbers 25% off tickets to see their acclaimed stage adaptation of Prince Caspian!  The video also includes a fantastic glimpse of the opening scenes (just a rehearsal, but still exciting to watch).

For discounted tickets, call 864-268-9342 and say NarniaWeb sent you. Summer performances in Taylors, SC will run June 15 – July 15. Stay tuned for our review!

New Clip from Logos Prince Caspian Stage Play

Posted June 2, 2017 10:38 pm by The Rose-Tree Dryad

The Logos Theatre has shared a new clip from their production of Prince Caspian. (You must be logged in to Facebook to view.) The one-minute sneak peek shows the Pevensies’ second trip to Narnia as the railway station around them disappears and they find themselves in another world once again.

Located in Taylors, South Carolina, The Logos Theatre has received excellent reviews from Narnia fans for their stage version of Prince Caspian. Douglas Gresham, film producer and C.S. Lewis’s step-son, attended a performance and offered high praise for its quality.

Tickets are still on sale for upcoming performances of Prince Caspian this summer. NarniaWeb will be attending one of them, so stay on the lookout for a review!

Joe Johnston on Star Wars 40th Anniversary

Posted May 29, 2017 4:09 pm by The Rose-Tree Dryad 4 Comments

The Silver Chair director Joe Johnston shared a series of tweets today reflecting on the 40th anniversary of Star Wars. Johnston began his career working on the first Star Wars film as a concept artist and sounds technician, and was an art director of visual effects for the second and third films of the trilogy. Here’s a snippet of what he has to say about the experience and why it was so special:

With few exceptions, the people who came together in 1975 to put Lucas’s creations on screen weren’t seasoned veterans of the film industry. A few had a little previous experience but for many of us it was our first entry into the world of cinema. George Lucas didn’t assemble a team of technical experts. He called on largely untested people who had imagination, talent and a passion to try things that had never been done before. The adventure we shared happened because the right elements came together at a moment in time sparked by the brilliant vision of one man.

We are all well aware that our unique experience on the original Star Wars trilogy—the way our teams of passionate people created such stunning visual effects in the pre-digital age—will never happen again, to those who lived it or to anyone else in the future of filmmaking. We’re profoundly fortunate to have been at the right place at the right time, escorted through it all by the creative mind of George Lucas.

Fans of Narnia know that things never happen the same way twice, but here’s to hoping that the time is right for The Silver Chair to come together in a new and magical way through the efforts of an imaginative and passionate team!