Review: Shadowlands (Aldwych Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️

Many people will be familiar with The Lion, The Witch and The Wardrobe and the Chronicles of Narnia series, with the stories enthralling audiences through the generations, enjoying a timeless nature - something that looks set to continue with new adaptations in the near future. Far fewer people will be as familiar with the man behind these legendary tales - they may know the name C.S. Lewis, but that would be where their knowledge of the author ends. Shadowlands aims to right that wrong, putting a spotlight on the man and telling the true story of the later years of his life, but would this play be a roaring success or leave me colder than an endless winter?

Originally written as a television drama in 1985, the stage adaptation of Shadowlands premiered in 1989 with revivals over the years, including the latest, which began its life in Chichester in 2019, finally getting a long-awaited West End transfer nearly seven years later. It tells the story of author C.S. Lewis during his years as an Oxford don. When he begins corresponding with a spirited American poet, Joy Davidman, his life is upended when she arrives in Oxford. Over time, their friendship blossoms into something more, with a meeting of the minds having a profound impact on their hearts, and even repairing old wounds.

William Nicholson’s writing carefully weaves various themes synonymous with C.S. Lewis’ character and life, with The Chronicles of Narnia famously a Christian allegory framed as children’s stories. Nicholson fills Shadowlands with similar ideas, with Lewis and Davidman regularly theorising on what might follow this life, with the title of the play coming from these ideas. The religious aspects are present but usually in a subtle fashion, never hammering it as heavily as some other plays may do with this. Similarly, Lewis’ academia also features in the play, with a great deal of intelligence in the dialogue, but never to a level that becomes hard to follow, always feeling accessible but rich in its exposition. The writing is also frequently funny, with no shortage of laugh-out-loud moments through some exceptionally witty dialogue, though this never comes at the expense of the emotional undertone bubbling away beneath the surface.

There are clever comparisons to The Chronicles of Narnia present throughout the play, too, particularly the book The Magician’s Nephew, with Davidman’s son, Douglas, clutching a copy of it and referencing aspects of the story that mirror the one unfolding in Shadowlands. It is a beautiful reminder of the power of stories and how fictional worlds can provide pure escapism at times when we desperately need a miracle, though Shadowlands also reminds us these miracles are few and far between, and the harsh reality of life is always unavoidable.

The comparisons to Narnia continue with Peter McKintosh’s thrilling set design, transforming the stage into Lewis’s grand library with an obvious focus on the abundance of books. However, it is the inclusion of a solitary lamppost in the corner that is obviously meant to draw comparisons to that magical land, with the stage cleverly transforming to reveal other glimpses of Narnia through creative and inspiring touches. This helps bring home the themes in Shadowlands, attempting to blur fantasy and reality for brief moments before being plunged back into the real world.

These clever touches and nods are beautifully heightened by Rachel Kavanaugh’s glorious direction, always finding the nuance in the story and never distracting from the real stars of the show - the writing and the actors bringing these words to life. Kavanaugh has a real intuitiveness for how to convey emotion convincingly, leading to authentic conversations lifting Nicholson’s writing from the page, and bringing even more depth to Lewis and Davidman. Sudden tonal changes are meticulously handled, with an extreme change in Lewis’ demeanour towards the play’s climax giving me a jolt. Ultimately, Shadowlands combines humour, love and grief, with Kavanaugh’s direction ensuring every beat is felt with the desired impact.

One of the big draws for Shadowlands is its star cast, and they certainly don’t disappoint. Having played the role in Chichester seven years ago, Hugh Bonneville returns to the lead role of C.S. Lewis in a demanding role that sees him on stage continuously. Having proven time and time again what a sensational actor he is, I had only seen him on screen previously, so to witness his undeniable talents in person felt like a real honour. The depth and nuance Bonneville brings to the character of Lewis is astonishing, ramping up the comedic nature at moments, while bringing a lot of warmth, heart and, ultimately, heartbreak. Bonneville’s performance somehow manages to feel both urgent and effortless, demanding all eyes on him and delivering a knockout performance in the process.

As Joy Davidman, Maggie Siff is similarly spellbinding. Her brash, no-nonsense approach can feel jarring when we first meet the character, but it provides the perfect balance to the very English rest of the cast, giving a bit of a culture clash, often to humorous effect. Davidman’s character reveals herself as the play progresses, and Siff demonstrates this masterfully, exposing herself with vulnerability and delivering a well-rounded, multi-dimensional characterisation. Understated at times, Siff still commands the stage at every turn, with her chemistry from Bonneville making the scenes the pair share on stage electric to witness, and where Shadowlands is at its very best. Both Bonneville and Siff deliver two of the strongest performances you can see in the West End at the moment.

Shadowlands is far from a two-hander, however, with Jeff Rawle a highlight as Major W.H. Lewis, the older brother of C.S. Lewis. Mostly used for comedic purposes, Rawle’s comic timing is always precise, receiving the biggest possible laugh in a solid performance. Timothy Watson almost takes on a villainous role as Professor Christopher Riley, with his cutting remarks almost used solely for the responses he begrudgingly receives. However, his performance suggests there is more to the character than meets the eye, with certain looks he gives Lewis, and a tragic, almost dark quality never quite coming to the surface. It is an intriguing portrayal, and a character I wish I had got to learn a bit more about. Three young actors share the role of Douglas, with Ayrton English taking on the character at this press night performance, in an outstanding turn that beautifully captured youthful innocence and naivety, while making us much bigger kids in the audience wishing we hadn’t lost our sense of childlike wonder over the years.

Shadowlands is not the play I was expecting by any stretch. If you are setting foot into the Aldwych Theatre hoping to see a story featuring a lion, a witch and a wardrobe, you may be disappointed (though a witch does make a fleeting appearance, at least). However, what you get in its place is a far richer tale that speaks of the essence of humanity, conveying its starkest themes, notably how we deal with grief, or rather don’t deal with it. The writing and direction are both incredible in their own right, but it is the lead performances from Bonneville and Siff that elevate Shadowlands to something quite extraordinary. While the play may not take place in a magical land, that doesn’t stop this production from being filled with pure theatre magic, resulting in a compelling production that swaps fantasy for feeling and is all the richer for it.

Shadowlands plays at Aldwych Theatre until 9th May. Tickets from https://allthatdazzles.londontheatredirect.com/play/shadowlands-the-play-tickets

Photos by Johan Persson