In ‘Prince Caspian’ at Museum of the Bible, true theatrical magic rules

The film adaptations of C.S. Lewis’ allegorical fantasy The Chronicles of Narnia delighted my children and me in the early-mid-2000s when the big-budget movies were released. In the age of CGI effects and immersive sound design, these films held the attention of my teen boys and their old dad. So I was intrigued by the idea of attending a stage adaptation of Lewis’ second Chronicle, Prince Caspian. Knowing this production was by the Logos Theatre, a South Carolina-based organization that trains and employs actors and crews to present Christ-centered productions, was also intriguing to me.

All of this is preface to my assessment of Prince Caspian, now running at the World Stage Theater on the fifth floor of the Museum of the Bible in Southwest DC.

Folks, I was impressed.

From the staging, the performances, the stagecraft, and the message, Prince Caspian rules. There is not a dull moment in the production, which whisks along (particularly in the first act) culminating in a stage battle of creatures and humans that crackles with danger.

As the second of The Chronicles of Narnia, Prince Caspian picks up with the Pevensie siblings, who had stumbled upon the hidden kingdom of Narnia in the first tale, The Lion, the Witch and the Wardrobe. There they encountered enchanted talking animals, such as the majestic lion, Aslan, who served as a Messianic figure. Benevolent and mighty, Aslan helps the adventurous teens, and they even become kings and queens of Narnia and rule for many years. When they return to London, they are once again their own ages and have only their memories of their time in the hidden kingdom.

As Prince Caspian opens, the Pevensie siblings are about to take the train to boarding school. Just as they embark, the station spins and they find themselves transported once again, this time to a desolate island in an unknown land. Meanwhile, young Prince Caspian is in danger from his uncle and the queen, who wish to continue to rule, rejecting the goodness of Aslan, who has been absent for many years.

As the story unfolds, the intrigue of Narnian politics, the machinations of the evil king, and the Pevensie siblings’ quest all converge clearly, so audiences do not have to be experts in the Chronicles to keep up. The adaptation by director Nicole Chavers Stratton is lively and engaging, offering the actors crisp and witty dialogue that also effortlessly propels the adventure forward.

Stratton’s script is masterfully supported by the stagecraft of the lighting, set, and costume designs. The dynamic lighting scheme by Samuel Singleton, Nicole Stratton, and Nicole Murphy brings a cinematic style to move the action forward. Scenic elements, designed by Jesse Gould, work with Stratton’s creative staging to keep the action moving. From the siblings to the talking creatures and even walking trees, the costumes solidify the theatrical magic of the production; these were designed by a large team of technicians led by Lucy Parker. Another highlight of the production is the evocative sound design, credited to Olivia Singleton and Daphne Fortrain. The rich, orchestral soundscape brought to mind the best scores of Hans Zimmer or John Williams.

Taking on the roles of the four Pevensie children are Ivy Jones as Lucy, Brinton Stratton as Edmund, Harrison Winkley as Peter, and Liliana Groth as Susan. Their interplay as siblings and their strengths as young actors serve the story well. Samuel Singleton plays the title role with sensitivity and authority. (As with the other performers, these young actors are all members of Logos Theatre’s Academy of the Arts; basically, they grow their own company members.)

Supporting the younger performers with charm and style are John Allen Harrett as comedic dwarf Trumpkin and Christian Lamas as the wise, professorial (half-dwarf!) Cornelius.

The production boasts a sizable ensemble who switch between humans, creatures, and fantastical beasts with aplomb.

True theatrical magic manifested itself onstage in Prince Caspian with the impressive puppets, worked by a stellar team of puppeteers, bringing to life Caspian’s horse Destrier and the majestic lion, Aslan. If you were lucky to have seen the National Theatre’s production of War Horse, or the work of Handspring Puppet Company, you have some idea of the meticulous operation and careful articulation of the life-sized renderings of the horse and the lion. Justin Swain, Jesse Gould, Caleb Mann, Ronan Osteen, Ben Pilgrim, Jeremy Singleton, and Eli Jackson are listed as the puppeteers who handle the trees, Aslan and Destrier.

It should be mentioned that the late founder of the Academy of the Arts and Logos Theatre, Dr. Nicky Chavers (who died in 2021), is the recorded voice of Aslan. His mellifluous, soothing tone — which can be powerful as needed — fits the magnificent lion like a glove.

What of the Christian message baked into the allegorical tale? Oh, it’s there. The lessons of faith and perseverance are central to Caspian’s journey from boy to prince to king, and the quest of the Pevensie siblings. However, the play works on both levels: if you want to walk away uplifted by a powerful message, mission accomplished. Also, if you just want to enjoy or take your family to an engaging, fantasy story with humor and excitement, you will not be disappointed. Prince Caspian is great theater that happens to have a deeper message. Nothing wrong with that at all.

Running Time: Three hours plus a 20-minute intermission.

Prince Caspian plays through April 27, 2024, presented by the Logos Theatre, in association with the C.S. Lewis Company Limited, performing at the World Stage Theater on the fifth and sixth floors of the Museum of the Bible, 400 4th Street SW, Washington, DC. Tickets ($69–$94) are available for purchase online, at the Museum, or by calling (866) 430-MOTB.

SEE ALSO:
Live theater returns to a gem of a venue at the Museum of the Bible (interview feature by John Stoltenberg, January 19, 2023)