The Kalamazoo Civic Theatre recently opened its production of The Lion in Winter. Gordon Bolar has this review.
Although James Goldman’s 1966 play is set in a 12th century castle, the English and French royals depicted in it speak in the vernacular of the present day.
The Lion in Winter follows the efforts of King Henry II to decide on an heir to rule his kingdom, arrange for a new wife, and settle the question of possession of the Aquitaine, the richest province in Europe.
The jealousies, machinations, and abject mutual hatred among family members in Henry’s travelling court seemed unique, striking, and even shocking when the play and movie first appeared.
Since the 1960’s, however, the feuding families of modern-day dynasties have become ubiquitous in television series from Dallas down to today’s Yellowstone. This has, to some degree, normalized the dysfunctional power-hungry family in the popular imagination. Although this play might now be viewed as a prototype for many TV serial dramas that followed it, some of the novelty and sting has faded from Goldman’s script.
But Director Anthony J. Hamilton’s cast presents a smart, briskly paced production that contains all of the ingredients and characters necessary for the seven-way metaphorical shoot-out that Goldman intended more than half a century ago.
Daniel Coyne as Henry portrays an English monarch who, at first, seems sure of his power and prides himself in his ability to discern the motives and limitations of those who vie for his crown. Coyne’s strong suit in this role is that he’s not afraid to reveal his character’s weaknesses. These include over-weaning love for his youngest son and his underestimation of his exiled queen, Eleanor of Aquitaine.
Lisa Marie Parker as Eleanor delivers a strong performance as a formidable sparring mate for Coyne’s Henry, despite her status as a temporarily released prisoner allowed to join her estranged family for Christmas.
In contrast to her husband’s anger and bluster, the demeanor of Parker’s character is quiet and reserved. She shows us a mother skilled in subtle manipulation of her sons, as well as the patience of one who knows the right moment to play trump cards that wound Henry and help cement the stalemate she seeks.
In this production, each of the royal couple’s three sons are thankfully endowed with an array of distasteful characteristics that keep them at the throats of both their parents and one another.
Drew Dixon as Richard is believable as the gruff, battle seasoned warrior, ready to seize his father’s crown and solidify possession of the Aquitaine.
Geoffrey, in an even and steady performance by Ian Cummisford, is the calculating king maker, who plots to share power by navigating palace intrigue.
Camryn Shankool as John, the youngest son, presents an appropriately spoiled brat who breaks both his father’s heart and his resolve to choose him as heir to the throne.
Hayden-Lane Davies as Philip, the young King of France, delivers a character who seems perfectly at ease with the back-stabbing ways of Henry and his family.
Delaney Becker as Alais shows backbone and survival skills as she negotiates and solidifies her tenuous position as Henry’s young mistress.
Although the characters in Goldman’s The Lion in Winter are admittedly difficult to like, this Civic Theatre production, set in the round in the Carver Studio, manages to engender admiration for its wit, gamesmanship, and resilience.
