‘The Lion In Winter’ by James Goldman. Directed by Allison Olivia Choat. Produced by/ Prop Design by/ Scenic Design by Sehnaz Dirik; Set Design by Leonard Chasse; Costume Design by Richard Itczak; Lighting Design by Erik Fox; Intimacy Direction by Kayleigh Kane. Produced by Theater Uncorked, ‘The Lion In Winter’ runs from December 5th – 15th at the BCA Plaza Theatre, 539 Tremont St, Boston, MA 02116.
By Charlotte Snow
The Lion In Winter is one of those “perfect for the family to watch during the holidays” shows. It contains all of the warm and fuzzy feel-good tropes such as the mother recently released from prison, three scheming siblings plotting their father’s downfall, and one offstage dead child. It’s as heartbreaking as it is surprisingly funny at times. The satire follows fictionalized versions of Henry the II and Queen Eleanor of Aquitaine as their sordid and sparring relationship consequently drags down the rest of their family: three fatally flawed sons, Henry’s mistress/Eleanor’s surrogate daughter, and a vengeful newly crowned king of France, into an ill-fated Christmas gathering full of dangerous ambitions, complex political schemes, and saucy romantic entanglements.
Despite being performed not nearly enough across the regional theater landscape, this dark comedy holds quite a fascinating production history. In 1966, The Lion In Winter opened and closed after only 92 performances. However, the film adaptation arrived just two years later and famously starred Peter O’Toole and Katharine Hepburn as Henry and Eleanor, respectively, and introduced a young Anthony Hopkins as Richard the Lionhearted. The original Broadway production won one Tony, the film bagged three Oscars, and went on to inspire the hit TV show “Empire.”
As stated in the notes from the director, the aim of this production is to portray “a world that isn’t static or solemn, but vividly, recklessly alive.” It’s an admirable and worthwhile goal, considering how easy it can be for period pieces to feel more like museum pieces. That said, it would’ve served the production to populate it with more of those wild, unburdened, and dangerous moments. When it does, the play is electric, the grim and quirky humor lands, the suspense is amped, and the audience leans forward. However, there were too many moments when the production fell into the trap of playing the period, thanks to dramatic pauses and needless frequent scene changes. The two hours (with a ten-minute intermission) really get felt in the second half of Act II and bog down the moments of extreme emotionality that make this production so unique and alive.
Anthony Mullin stars as a rugged and world-weary Henry II, alongside Sehnaz Dirik as a blazing yet vulnerable wildcard, Eleanor of Aquitaine. It’s their undeniable chemistry and internal stakes that carry the play, acting as its north star. The rest of the cast turn in rather fine performances. However, their characters are written to be a bit more stock rather than fully fleshed out in an effort to satirize the backstabbing and cutthroat nature of the medieval court. As Eleanor remarks to her husband, “Henry, I have a confession. I don’t much like our children.” On top of that, the supporting characters are usually reactive to Henry and Eleanor’s plots and schemes. That said, the character of Alias and her struggle for autonomy, her hand in marriage often promised (along with acquisitions of land), is deftly portrayed by Micah Livesay.
Anthony Mullin and Micah Livesay.
The production team, with the budget of a small theater company, manages to effectively transport the audience into a historically authentic French castle in 1183. The contributions by costume designer Richard Itczak, Set Designer Leonard Chasse, along with the props and scenic designer Sehnaz Dirik (yes, you read that right, who also stars as Eleanor) are particularly effective. James Goldman’s script is a whirlwind of emotion that becomes thicker and thicker with complexity and intrigue the more it progresses.
Despite being left wanting some more visceral and guttural moments, I truly believe the production, as it aims to breathe new life into this underrated classic, is more successful than not. I also deeply appreciate the ingenuity and hard work that went into the production on all fronts, as well as Theater Uncorked’s dedication to works that are a bit more on the fringes of the canon. If you are a particular fan of historical fiction, England’s more eccentric monarchs, or a good family tragicomedy in general – this is the play for you. If you’re a bit hesitant going into it, this production may not entirely win you over. Either way, it is well worth a watch. For me personally, the lion’s roar is heard as more of a growl that makes my heart skip a beat… but it never quite manages to jump out of my chest.
For more information and tickets, visit https://www.theateruncorked.com/
