James Goldman's The Lion In Winter at Theater Works
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 4/1/00
(out of )Henry is considering his retirement, and would like to leave something meaningful after he has passed on. Unfortunately, there are many obstacles blocking his path. His wife, Eleanor, is always looking for ways to thwart him at every turn, all to ensure that her eldest living son, Richard, takes over the family business. His favorite son and desired heir, the young John, is a spoiled, willful child. His devious middle son, Geoffrey, would sell out his entire family to advance himself. The son of his former partner, Philip, is learning the business quickly, and becoming craftier all the time. Even his own mistress, Alais, throws up barriers to retain what little power she has. Such is the intricate family life of a 12th century King of England.
James Goldman's brilliant 1964 dramatic comedy, The Lion In Winter, sets new parameters for family intrigue. Every line is a cunning half truth. The word "love" is as effective as a dagger. Even what seem to be the most honest confessions are nothing more than tactic. These seven participants in the exchange of power from Henry II to one of his equally crafty sons are deep, multi-faceted characters that an actor can feast upon. Fortunately, under the sure hand of Director Robyn Allen, the cast, nearly to a man, does just that.
While Ms. Allen's pacing sometimes feels a bit too frenetic, she keeps this intrigue-filled evening barreling forward. Her casting is nearly perfect, from Charles Sohn's tired-though-still-vibrant Henry to Scott Campbell's evil-schemer Geoffrey. She has taken what can sometimes be a cumbersome play, and allowed it to soar.
Mr. Sohn is masterful as the crafty Henry. He captures nearly all of the rapidly shifting moods of the aging king (aging, of course, is a relative term, since Henry was all of 50 at the time of this play). He banters well, and spouts self-centered rage when pushed. Up to his level is his nemesis and companion, Eleanor of Aquataine, as played by Jacqueline Gaston. This is a triumphant return to the stage after a nine year absence. She, too, applies the many layers to her character with great result. In the supporting roles of Geoffrey, Richard and Philip, Mr. Campbell, Ron Hunting and Evan Lubeck also present their characters well. Mr. Campbell, is nearly Machiavellian in his presentation, while Mr. Hunting's even demeanor of Lionheart is a solid choice that balances his later outbursts. Mr. Lubeck takes the smaller role of the King of France, and adds a perfect amount of artifice, presenting a franc-ish attitude without ever donning a silly accent.
The only two slight disappointments of the evening come from the offerings of Julie Cotton and Philip Haldiman, playing the roles of mistress Alais and whiner John. Ms. Cotton seems more to present than participate, while Mr. Haldiman is a one-note brat, never giving the audience a clue as to why he is Henry's chosen.
Scott Linneman and Gregory Jaye's set design is solid without being overwhelming, and Margret Emerson's very difficult period costumes are well-researched and effective. While Michelle Gardner's sound design works well, Mr. Campbell's lighting is too dim and contains too many shadowed spots, and his running crew muffed quite a bit of their cues on the Saturday of opening weekend.
Theater Works has scored a hit with this period production of a modern classic. Let's hope that their audiences will pick up, as they're facing a surprise $21,000 retooling of the theatre's electrical system, thanks to the City of Peoria. This is one theatre company that has survived too many unexpected blows and reversals of fortune since it left its original barn home, and deserves great support when considering the quality of the productions they've offered, despite such adversity.
Production Details:
The Lion In Winter by James
Goldman
Theater Works,
Peoria
(623) 815-7930
March 31st - April 23rd, 2000
