Hugh Bonneville takes centre stage in the latest adaptation of ‘Shadowlands’, a poignant tale that delves into the life of renowned author C.S. Lewis. While Bonneville brings his signature charm to the role, the production, running at the Aldwych Theatre until 9 May, struggles to capture the raw and complex realities of love, loss, and faith that define Lewis’s life and works.
A Sanitised Take on a Complex Life
Set against the backdrop of Lewis’s most famous creation, the Narnia series, ‘Shadowlands’ opens with a familiar sentiment: the notion that earthly existence is merely a shadow when compared to the eternal joys that lie beyond. However, this production, penned by William Nicholson, sanitises much of Lewis’s intricate personal history. Rather than exploring the nuanced relationships and emotional turmoil that characterised his life, the play presents a rather one-dimensional portrayal of a man trapped within his own moral framework.
Bonneville, best known for his roles in ‘Downton Abbey’ and ‘Paddington’, embodies the devout and emotionally restrained Lewis with aplomb. Yet, despite his affable performance, the material does little to evoke the deeper struggles Lewis faced. The play glosses over the complexities of his long-term cohabitation with Joy Davidman, a relationship grounded in both companionship and passion, to present a more palatable narrative.
Joy Davidman: The Enigmatic Interloper
Maggie Siff’s portrayal of Joy Davidman adds a spark to the otherwise subdued atmosphere. As a spirited American poet who boldly travels to England to meet her literary idol, Siff captures the impulsive nature of her character. She enters Lewis’s world as a breath of fresh air, challenging his rigid social circles filled with intellectual men who prefer the safety of literary discourse over the unpredictability of emotion.
The chemistry between Bonneville and Siff is evident, particularly as they bond over poetry, exchanging lines that hint at the deeper desires lurking beneath their interactions. Yet, the production falls short in showcasing their joy before tragedy strikes, leaving audiences with a sense of emotional disconnection from their love story.
A Missed Opportunity for Authenticity
Rachel Kavanaugh’s direction introduces whimsical elements—a forest beyond the bookshelves and softly falling snow—that hint at the imaginative realms both characters inhabit. However, these moments of magic are overshadowed by a pervasive sense of melancholy. The second act takes a darker turn, focusing on Joy’s suffering and the crises of faith that ensue. While these elements could have provided a rich exploration of mortality and love, they instead feel overly romanticised and heavy-handed.
The reluctance to depict Joy and Lewis’s happiness prior to her illness diminishes the emotional weight of their relationship. As the narrative unfolds towards a tragic conclusion, it becomes clear that Nicholson’s writing leans heavily on moral platitudes rather than the real complexities of life and love. Audiences seeking a profound exploration of these themes may find themselves wanting for a more authentic portrayal.
Why it Matters
‘Shadowlands’ presents a missed opportunity to delve into the intricacies of C.S. Lewis’s life and relationships. The production, while visually enchanting and featuring strong performances, ultimately fails to grapple with the profound themes of grief and love that permeate Lewis’s works. In an era where narratives about mortality and emotional authenticity are more relevant than ever, a deeper exploration of these subjects could resonate powerfully with audiences. It underscores the importance of embracing the messiness of real life rather than shying away from it, reminding us that true storytelling lies in the complexities of the human experience.
