Lions, witches and swordplay

IF YOU GO

A local musical production of “Narnia,” based on C.S. Lewis’ “The Chronicles of Narnia,” has been wrapped with more than a touch of Hollywood flavor.

Combat coaches and makeup artists from the film industry have imparted their wisdom to the No Square Theatre production, which opens Friday at Laguna Beach High School’s Artists’ Theatre.

“This has been a huge project,” said director Kim Sawtelle-Castuera. The production has been slated to run for two weekends, and features a large and diverse cast of singers, dancers and warriors.

Yes, warriors.

The show will feature epic battle scenes, choreographed by Tim Weske, who owns fencing studio Sword Play LA. He has choreographed thousands of fights for television and films such as “Master and Commander” and “Princess Diaries 2.”

The set, which features ethereal scrims and pointy, icy trees, was designed by veteran scenic artist Wally Huntoon.

The costumes were all constructed for the production by Angel Caban and Darlene Krantz.

“They made everything,” said Dana Hills High School student Raleigh Bisbee, who plays the White Witch.

Her costuming is highly reminiscent of the film; her battle garb, a wild, organic menagerie of feathers, chain mail-like fabric and sequins, is worth the price of admission by itself.

Lucy Pevensie’s costume — a smocked dress, cardigan, beret and tights — was purchased at a thrift shop, but the vintage look is as current as any designer’s fall 2006 line, and also is evocative of the movie adaptation.

Jordon Wade stars as Aslan the lion. To bulk up his trim frame and make him look more fierce, pectoral “muscles” were inserted into his costume.

“They’re lacrosse pads,” he said, poking at them.

But onstage, the banter disintegrates, as Jordon belies his youth and transforms into the majestic Aslan. His movements are dignity itself, his glances intent.

Lisa Feierman, who plays faun Mr. Tumnus, sports massive furry goat haunches that are a constant source of teasing.

“I need to name them or something,” she joked. “I’m just glad they didn’t make me wear a beard.” She sports heavy face makeup instead.

The characters’ makeup is incredibly detailed; the crew received training from Howard Berger, the Academy Award-winning makeup artist from the 2005 Narnia film. Berger also created the makeup effects for the cult favorite “Army of Darkness.”

Many of the facial designs are airbrushed on, and one Cruelie’s (or evil creature’s) eye was “sewn” together.

Sure to be an audience favorite is another of the Cruelies, Kristopher Blount, recognizable at 6 feet 5 inches. He performed as one of Johnny Depp’s eight pirate cohorts in “Pirates of the Caribbean: Dead Man’s Chest.”

Young children run around in fairy wings, masks and flip flops. In contrast, Blount wears a fierce Uruk Hai costume from “The Lord of the Rings” as his Cruelie garb.

Sierra Simmons and Haley Castuera, who portray Mr. and Mrs. Beaver, wear a vest and skirt, respectively, made of the same wool plaid.

“It used to be a dress,” they said simultaneously — the two have become fast friends, and frequently finish each other’s sentences.

“We’re just like the beaver couple outside the play,” Castuera said.

“We bicker,” Simmons says.

“And then we laugh and make up,” finished Castuera.

The youth are all familiar with the story by C.S. Lewis, either from the movie or the book. The play was adapted from “The Lion, the Witch and the Wardrobe” by Jules Tasca, Thomas Tierney and Ted Drachman.

Many of the young cast members have been involved with No Square longer than they’ve been in school — some started when they were as young as four.

The child actors were eager to learn — almost overeager. During battle rehearsals, the youngest ones were continually reminded of jagged tree props, sharp swords, and the open orchestra pit at the front of the stage.

“Feel the energy and feel the tempo around you,” commanded Weske, guiding ax-wielding combatants through their steps at a recent rehearsal. He was strident with the adult cast, but knelt down and talked quietly to the production’s many young children while instructing them.

During one raging mêlée, the tiny children banded together, wide-eyed, holding shields as tall as they are.

One child, overwhelmed with the intense stage direction, hid in a dark doorway and cried until an older actor saw her and comforted her, walking her through her cues.

The Hollywood connection continues into the music. This prime battle scene is acted out to Carl Orff’s timeworn “O Fortuna,” the staccato, building opening movement from his most famous cantata, “Carmina Burana.”

“O Fortuna,” originally used in the film “Excalibur,” has since been used in dozens of films like “Glory” and “The Hunt for Red October.”

The company later rehearsed a brutal scene in which four forest creatures, played by young boys, are murdered.

“We affectionately call this scene ‘The Slaughter of the Narnians,’” Sawtelle-Castuera said jocularly.

“We’re family oriented,” another actor joked.

The professional combatants discussed the best way to kill off the boys. “He’s gonna stab someone,” Weske began, pointing to a swordsman.

“I’m gonna slit someone’s throat, then I’m gonna stab someone,” the swordsman corrected placidly.

The to-be-massacred children quickly run into trouble working as a team.

“Who amongst you four is the leader?” Weske asked, trying to create cohesiveness in the group.

“I am,” all four said, raising their hands.

The four boys are beloved by the rest of the cast. “They are the heart of the show,” said choreographer Vanessa Schneller. She described a game invented by the children at their dance workshop in which the boys practiced methods of being injured in battle.

As with the Broadway musical, the show is symbolically marked at beginning, middle and end with an enchanted white stag, emblematic of the desire to quest.

The stag is portrayed by dancer Eleanor Knabe, who has studied ballet for many years; under the guidance of choreographer Schneller, she captures the instinctively natural movements and grace of a real deer while en pointe.

In contrast to Knabe’s dainty, innocent steps, a few of the professional fencers clustered together in a dark area near the stage as she practiced.

“You’ve just slaughtered innocent children,” one said. “Where are you gonna go?”

Without missing a beat, another responded: “Disneyland!”