This chapter examines two theatrical productions based on Philip Pullman’s two trilogies set in the same storyworld: His Dark Materials (2003) and The Book of Dust (2022), both directed by Nicholas Hytner. The chapter demonstrates the development of the aesthetics of fantasy theatre over two decades, illuminating the shift from its initial attempt to adapt fantasy ‘loyally’ to the source and in as much robust staging detail as possible to a less explicative, more abstract and parred down actualisation trends. The chapter argues in favour of reading fantasy theatre as part of transmedia storyworlding, i.e. a multi-directional process in which adaptation moves beyond translating the narrative from one medium into another and focuses on realising the said world in a way that persists beyond the theatrical event. Focus is laid on scenic design—from steampunk Victoriana in His Dark Materials to romanticist visions in The Book of Dust, close readings of specific storytelling techniques, and the detailed examination of puppets which had long been relegated to children’s theatre before making a notable comeback in fantasy.