The authoritarian Magisterium want to whisk her away to protect their powers, the nuns and academics of Oxford want to protect her and what she stands for but when those floods hit, it is left up to teenagers Malcolm and Alice to guard the baby (who, most adorably, is played by an actual baby in certain scenes). The Book of Dust is effectively a prequel, set 12 years earlier where the totemic Lyra Belacqua has just been born. From genial pubs to haunting convent halls (those illuminated habits!) to raging floodwaters, we’re joyously submerged in the thrills and terrors of this parallel universe once again.īryony Lavery’s adaptation has the unenviable task of making a satisfactory play out of the first part of a new trilogy, which does presume a certain amount of knowledge of that first trilogy.
The Bridge Theatre may not be blessed with the revelatory wonder of the Olivier’s drum revolve, but with co-directors Emily Burns and James Cousins, Hytner has conjured something special with Barnaby Dixon’s austerely beautiful puppetry, Luke Hall’s highly effective video work and designer Bob Crowley. Fortunately, The Book of Dust – La Belle Sauvage finds its own kind of festive magic to weave over audiences this Christmas. Nicholas Hytner’s stunning reworking of the world of Philip Pullman’s His Dark Materials for the National Theatre remains one of my all-time top theatrical experiences, so the news that he would be returning to that universe filled me with excitement and trepidation in equal measure. Bridge Theatre, London – until 26 February 2022
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