The Lion in Winter
By James Goldman
Directed by Matthew Gray
Assistant Directed by Katie Ibrahim
Produced by Theatre Three
Audience Rating: PG-13 for violence
Running Time: 2 hours and 15 minutes with a 15 minute intermission
Accessible Seating: Available. Plan ahead for best seating options on the South, East or West sides. North side is not advisable for visibility
Hearing Devices: Available
Sensory Friendly Showing: Not offered
ASL Showing: Not offered
Sound Level: Comfortable volume level
Noises/Visuals to Prepare For: Stage blood, swords and daggers, yelling during fight/argument scenes
Reviewed by Natalie Shaw
The Lion in Winter, by James Goldman's standards, in his writing, circa 1980, wasn't exactly a success upon its first opening in 1966. However, following the movie production, the play, in it's 1980's revival was something that astounded him.
Frankly, I'm amazed. I have no explanation why the play is still alive; or why it speaks as clearly as it does to younger audiences...Whatever the explanation, I am eternally grateful. Not only for the obvious reasons, but for what it has meant to my life as a writer. -*Goldman (vi)
History plays have a tendency to hit home, especially in certain political climates. As if helplessly, we watch it repeat itself in an almost unbearable cycle. Seeming as if, we, as world-wide mankind, have learned nothing. And, those of us who have read, learned and comprehended the dangers and the warnings of those who've gone before us, shake our fists and raise our voices to those who deny what is most definitely right under our noses.
The Lion in Winter is a history play and a game of strategy. Based on the life of King Henry, whose children are at battle for the throne. Several daughters (not important data during this time, as you well know,) five sons, the older of the two boys deceased, leaving three to compete for the crown. King Henry (Jeffrey Schmidt,) unwilling to give it up. Queen Eleanor (Christie Vela,) unrelenting in her efforts to seize it, either for herself or for her "favorite" son, the eldest Richard (Drew Wall) whom she knows she has exceptional influence over. Henry, privy to her maneuvers, has chosen his own "favorite" son, the youngest John (Dustin Parsons). Leaving poor middle-child, Geoffrey (Carson Wright) to prove his worth as something more than just a Chancellor.
Time: Christmas, 1183 AD. Chinon France at Henry's palace. Eleanor, being the steadfast threat, is locked away in the tower, under careful observation. There is a war raging from within. Plots against one another, lies told and promises never meant to be kept. The winner gets the crown, the Aquitaine, and a wedding--to Henry's groomed, much younger mistress, Alais (Kristen Lazarchick.) Richard (the Lionheart) is the champion warrior, the most eligible candidate when countries are at war, and perhaps the most human of the three. Geoffrey is the most calculated and intelligent prospect, possessing the ability to formulate a treaty, should the need arise. And John-- nobody knows what the hell he's doing here, except to be daddy's most impressionable pawn.
As actors and creatives, this group is a powerhouse of expertise and skill, and I do not say that lightly. For many of us in the DFW Theatre community, they need no introduction, for they are among the best of the best. Theatre Three has spoiled us, giving us Artistic Director Jeffrey Schmidt as Henry and Associate Artist Director Christie Vela as Eleanor, a chance for continued education if ever there was one. Director Gray utilizes excellent staging techniques with a brilliant, yet simple set design by Scenic Designer Cody Stockstill: Two tall platforms, equal in height, opposite one another creating tension and distance; a slightly raised octagon in the center of the stage, for heated threats, arguments, and wrestling matches, giving way to circling vultures or submissive characters at floor level. Fight Choreography by David Saldivar is highlighted in those moments when enough is enough, and physical fights break lose. Time appropriate costumes by Amy Otto are well designed and balanced with style, textures, and earthy tones with occasional pops in color, pattern and vibrancy. Intimacy Coordinator, Danielle Georgio showcases her exceptional work in the tender moments, especially between Schmidt's Henry and Lazarchick's Alais. Lighting Design by Aaron Johansen takes on the journey around the stage, leading us from one scene to the next, while also emphasizing specific moments within the scenes that must needs our attention.
Theatre Three's The Lion in Winter is a brassy game of strategy, strength and persistence in the name of power; a prickly souvenir of what is and what is to come when we're minstrels to schemes and devices. Choose wisely, dear friends, for there is no turning back. Don't miss this incredible cast at Theatre Three. Tickets to The Lion in Winter can be found at onthestage.tickets/show/theatre-three or at theatre3dallas.com
Enjoy the Show!
Natalie
*Goldman, James. The Lion in Winter. Penguin Books, 1983
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