Step into the wardrobe where Narinia comes alive on stage - just as I imagined it as a Kid!!

As a lifelong Narnia nerd (we’re talking childhood books, every screen adaptation ever made, the whole lot), I’ve been dying to see The Lion, The Witch and The Wardrobe since it hit the West End with Samantha Womack as the White Witch. So when the Belfast stop on the tour popped up, I didn’t hesitate, I practically strong-armed Daniel into taking me as his plus-one.

Funnily enough, it was exactly three years to the day since I joined him for another childhood fave: Bedknobs and Broomsticks. Nostalgia loves company.

From the moment the curtain rose, this show was pure magic. You’re not just watching a play, you’re stepping straight through the wardrobe and into Narnia. It’s got everything: epic battles, talking animals, spine-tingling spells, and the kind of heartfelt storytelling that hits you right in the feels.

The production nails the look and feel of the Narnia we all imagined as kids. The set design? Stunning. Costumes? Magical. Lighting and effects? Off-the-charts. A massive shoutout to the puppetry team, especially for their work on Aslan. He’s brought to life by both a beautifully crafted puppet (handled with incredible grace and power) and an actor. It might sound a bit weird, but it works. Somehow, you believe in both.

The cast is fantastic, especially the Pevensie children and the White Witch, played with icy brilliance by Katy Stephens. She’s chilling without ever slipping into cartoon villain territory. Her pack of wolves, grotesque and jittery, were nightmare fuel in the best way. Maugrim, especially, was a terrifying hybrid of machine and beast.

Visually, the whole thing is a feast. A giant clock face looms in the background, cleverly marking the contrast between real-world time and Narnia’s rhythm. Characters appear and vanish through it like a portal, adding tension and drama in all the right places.

There’s a wartime grit to the show that gives it more depth than you might expect. It opens with a moving rendition of “We’ll Meet Again,” anchoring the story in the WWII evacuation. That sense of displacement follows the children into Narnia, where “war is upon us” becomes a recurring cry. Even Santa Claus gets in on the action, because yes, in Narnia, Father Christmas hands out weapons.

The sound and lighting design adds a layer of eerie beauty, think gothic shadows, ghostly musicians, and creepy soundscapes that heighten every moment. The music, a mix of folk and ballad, is lovely, though it does slow the pace at times.

Speaking of pace, the show unfolds with a regal calm. Some scenes could move faster, and the siblings take a while to come into their own. But those are minor gripes in a production that’s been crafted with care and love.

And the magic—oh, the magic! From characters disappearing into thin air to the White Witch’s jaw-dropping transformations, the illusions are pitch-perfect. Even the smallest details, such as someone sneezing flowers, add a whimsical charm that keeps the audience enchanted.

By the end, you’re reminded that not all darkness can be conquered.

The show doesn’t hand you a happy ending on a silver platter, it earns it. The emotional payoff feels genuine, the stakes real.

This isn’t just a night at the theatre. It’s a journey. One that’ll leave you spellbound, nostalgic, and probably wanting to reread the entire Narnia series. Again.

The show runs at the Grand Opera House Belfast from Tues 29 April to Sat 3rd May, further information and tickets can be found at www.goh.co.uk