This 'Narnia' adaptation brings magic to the stage but not as much as Bat Hats' other shows

Its latest offering, receiving its Toronto debut after premiering two years ago at Manitoba’s Theatre for Young People, is “Narnia,” based on C.S. Lewis’s “The Lion, the Witch and the Wardrobe.” This time around, the results — in a co-production with Soulpepper and Crow’s Theatre — aren’t quite as magical.

Things get off to a confusing start with the pre-show music. The acting ensemble, many of whom also play instruments, cavort onstage, singing and dancing to what sounds like down-home, East Coast music, supervised by music director Jonathan Corkal-Astorga. Hmm, is this going to be “The Lion, the Witch and the Kitchen Party”? Not quite.

Next, Astrid Van Wieren (“Come From Away”), who plays the Professor, begins narrating the show. While she’s a likeable, energetic storyteller, her preamble begins to ramble, taking up too much time for a story that’s known to millions of people from its various iterations over the decades. (Look for Greta Gerwig’s version of “Chronicles of Narnia” story “The Magician’s Nephew” on big screens this time next year.)

At long last, we get to the story itself. During a war, orphans Lucy (Belinda Corpuz), Edmund (Landon Doak), Susan (Sierra Haynes) and Peter Pevensie (Matthew Novary Joseph) are sent to live in the large home in the English countryside of the aforementioned Professor.

While playing hide-and-seek one summer, the youngest, Lucy, finds a wardrobe (solidly designed by Shannon Lea Doyle), which is actually a portal to the land of Narnia, a wintry place full of talking animals. After she returns home through the wardrobe, no one believes her. But Edmund follows her the next time and has his own Narnian adventure.

And so continues the familiar story about temptation, challenges and the battle between the forces of evil, as represented by the Witch (Amaka Umeh), and good, as represented by Aslan (Van Wieren).

What I’ve always loved about Bad Hats shows is their DIY esthetic and ingenuity. In an early version of “Peter Pan,” for instance, Tinkerbell was represented by a gold-speckled tennis ball: cheap, simple, fun.

There’s a little bit of that same esthetic on display in “Narnia,” especially in the character of Reepicheep, a talking mouse from other “Narnia” books. Voiced and manipulated by actor James Daly, Reepicheep appears life-sized at the end of a stick with wheels, and he’s so delightful he steals — squeals? — each scene he’s in.

Designer Doyle makes fine use of movable wooden staircases that are reconfigured several times in many ways — they’re especially thrilling in the climactic battle.

But for every inventive use of a costume detail or prop, we’re given more elaborate designs that, while they evoke character, are far from DIY.

Umeh’s Witch, for instance, is splendidly outfitted in a sumptuous gown that appears as if it’s stitched from dark silver threads; the imposing crown they wear on their head looks like it could poke your eyes out. We’re way beyond glittery tennis balls.

While on the subject of costumes, the clothing that the Pevensie siblings wear seems contemporary, prompting some questions: What era are we in, exactly, and what war were the kids escaping? A stronger director would have ensured more clarity.

Thankfully, Doak’s music helps delineate the characters and action, from bluesy numbers for the Witch and her henchman (Daly) to a sweet duet for a pair of beavers (Jonathan Tan and Matt Pilipiak). The final anthem is so catchy I hope the company releases an album, as they did for “Alice.”

Besides Umeh, Daly and Van Wieren, acting standouts include Corpus, whose Lucy demonstrates girl boss power and pipes, and newcomer Joseph, who exudes a real authority onstage.

It’s worth travelling to the portal called Soulpepper to see this particular brand of acting magic.