William Nicholson’s original script will barely be changed in the production at the Aldwych Theatre, which opens next week, apart from updating a story that a character reads from a newspaper. Raised as a Roman Catholic, Mr Nicholson initially had no time for C. S Lewis, sharing his mother’s view that the Narnia author was a “drippy Protty”. But, when his colleage in the BBC’s religious department Norman Stone — filmmaker, Lewis fan, and Christian — suggested creating a television drama about Lewis’s relationship and marriage to an American mother-of-two, Joy Davidman, Mr Nicholson was transfixed by their slow-burn love story.
“I personally connected, as a much younger person — I was 36 at the time — to the whole question of fear of commitment in love, which is maybe more of a male thing, but it was certainly something I was experiencing. I wanted to love and be loved, but was very afraid of committing myself to a full love affair, love relationship, marriage, children.”
Lewis’s loss of his mother at the age of ten probably affected the author’s ability to form close relationships, Mr Nicholson thinks. “When the person who is most central to your life, who gives you your sense of being loved, disappears and leaves you in pain, it’s reasonable to conclude that something closed off at that point, and had to be opened again. I responded to the fear of being made vulnerable by love. I made that one of the central themes, because that related strongly to me. I wasn’t married at the time; so I was able to channel a bit of myself into Lewis, and Lewis into myself.”
"Shadowlands speaks to something deep in all of us about loss, love and loss, and the fear of loss."
— Church Times (@ChurchTimes) January 31, 2026
The story of C. S. Lewis’s marriage, exploring love, loss, and faith, is back on stage, says @SusanGrayMeets #CSLewis #Shadowlands #grief #theatre https://t.co/ltrjwQftU9
