Filling the central aisle, viewed by an audience on each side, action is continuous and vigorous in freeFall’s production of The Lion in Winter. It fully exposes the dysfunctionality of the Plantagenet Family of Henry II and Eleanor of Aquitaine. And of the precarious state of 12th century relations between Britain and France. Joe D. Lauck comes on strong for his 60 years as the King of England preparing a Christmas holidays celebration in Chinon, France. He’s hoped to bring a bit of peace to relations with France and get wife Eleanor of Aquitaine not to stop his effort at divorce to marry his young mistress, Alais Capet, of France. He’s released Eleanor from imprisonment, and Stephanie Dunnam brings her on the scene impressively. She’s regal to the core and has her own ideas about how Henry should act and who should be his successor. The main theme consists of the personal and political squabbles among the royal sons, their parents, and to an extent, the attempts to get in cahoots with Philip, King of France (played confident of his position by Rob Glauz). His sister Alais lacks assurance she’ll become Henry’s wife (made clear by Alicia Thomas, though she also seems to lack courage in her convictions). It isn’t surprising that Eleanor, who mainly raised Alais, is not at all enthusiastic about her taking over the queenship. Of Henry’s three sons, he has preferred youngest John. (Robert Spence-Gabriel clearly portrays this perpetual kid, whiney and all.) Eleanor prefers the eldest Richard (Eric Brandon Davis’ handsome, sturdy, take-charge guy), who in truth seems to be fittest for a kingship. Joseph Michael-Kenneth seethes in resentment as the middle-son Geoffrey whom no one seems to consider up to being a future king. But he bears watching during the play’s many squabbles. To add some suspense, both Henry and Eleanor are able to recall when they were in love. Will that make a difference in forgiving her literal fights against him and have her forgiving him his romantic entanglements? Chris Crawford does a fine job as director making the often repetitive quarrels seem to be getting to some conclusion. A problem she almost overcomes is the cutting of three acts into two. It leaves a too-long first act with a split focus, as climax and anti-climax occur close together. Ingenious scenery of arches and boards flowing back and forth and rising and falling from above helps, as do the hand setting sometimes of furnishings and other props as well as the fleshing out of scenes at front and rear of the horizontal playing area. Musical arrangements by Michael Raabe help establish rhythm in scenic changes as well as general mood. Shawn Irish’s lighting has a tricky scheme, making unusual use of live fired candles as well as electric on all levels of the stage, including in the rafters. Each end of the playing area is more traditionally lit. Costumes are fanciful versions, most with black and white predominating and much leather, of what might have been worn in 1183 in winter in the north of France. The plot of the play comes full circle, even though an arc threatens to break off at many places. This production closely held audience attention when I reviewed it, and I think that was well merited. Use of modern English was warranted also. The play is not a usual Christmas holidays offering but never disappointing on that account.
