BWW Reviews: THE LION IN WINTER at Irish Classical Theatre - Familial Dysfunction Reigns Supreme

Familial Dysfunction Reigns Supreme
by Michael Rabice

Just when you thought your family had issues with each other and holidays were unbearable.. or when you thought the dining room scene in AUGUST: OSAGE COUNTY was the epitome of family dysfunction, meet Henry II of England, his wife Eleanor of Aquitaine and their three sons.

THE LION IN WINTER, the superb production now playing at Buffalo's Irish Classical Theatre (ICTC), tells the story of how these feuding monarchs go about choosing one of their sons as the next heir to the throne. On Christmas Eve in 1183, Henry summons his wife, who he has held prisoner in a tower for 10 years, to help in this decision. His underlying reason for her input lies in the fact that he requires her to surrender her claim to Aquitaine, in order for England to remain supreme.

While considered by many to be a staple of 20th century theatrical canon, this play began somewhat on rocky ground. After what turned out to be a financial failure in 1966, with only 92 performance during it's initial Broadway run, James Goldman's royal tale later went on to the silver screen , landing Katherine Hepburn the 1969 Academy Award for Best Actress. Numerous notable stage stars have taken on the juicy roles of the feuding monarchs, including Rosemary Harris and Robert Preston, as well as Stockard Channing and Laurence Fishburn.

ICTC's royals are played by Buffalo's own husband and wife, ICTC Artistic Director Vincent O'Neill and ICTC Artist in Residence Josephine Hogan. Hogan embodies the role with hauteur and conniving humor. When speaking of one of Henry's mistresses, Rosamund, she relates how Henry was always 'scrutinizing' the lady, squarely placing the emphasis on 'scru..'. O'Neill was an equal foil as the torn monarch. Each of his possible succession plans was met with a twist or turn, that ultimately made it appear that no choice would ever be agreed upon by the pair.

Hogan and O'Neill traded barbs and niceties equally, ala Beatrice and Benedick. Their final confrontation scene built to a well paced frenzy, and both actors timing was impeccable. The two have brilliant chemistry, and although they say they yearn for each other's demise, it is apparent that they would be lost without each other. Hogan's icy stares and O'Neill's chuckles made for a match made in hell.

Henry desired his youngest son , Johnny, to be the next king, While eldest son Richard the lionheart (Matt Witten) was Eleanor's choice for the throne. The trio of would be kings was perfectly cast . Nathan Andrew Miller, ably portrayed the acne ridden teen who was prone to tantrums. One wonders what Henry saw in him. The middle brother ,Geoffrey (Todd Benzin), makes it clear that there was no love for him by either of his parents, so he seemed out of the running from the start. Benzin's portrayal was full of angst and malice. As an undercurrent of sexual tension, we learn that Richard has had an affair with the King Philip. Witten fully inhabits this calculating, callous character, who is unwilling to allow anyone to get in his way in achieving the crown. It's obvious that these apples have not fallen very far from the tree.

In a rare showing of affection, Hogan encounters Richard privately in her chamber and adds a brief moment of maternal love, and a rare glimpse of humanity, to her otherwise scheming persona. We learn that while there once may have been some love between them, the two no longer hold each other in high regard.

Adam Rath was excellent as the effete and unlikable King Philip of France. His sister Alais, played by Renee Landrigan, is Henry's current mistress. A further complication requires her use as a pawn, for she is to be married off to which ever son is named the next King, or else her brother will ask Henry for her dowry back. Rath displayed the appropriate amount of coyness and authority, growing from teen king to a force to be reckoned with by the play's conclusion.

Ultimately, our tortured king contemplates whether or not to eternally condemn his entire family to dungeons and tower and marry with Alais, starting a new family with a potential new heir. This all must be done after an annulment of his marriage by the Pope, who we find owes him a favor. O' Neill's struggle for the perfect solution is handled with requisite strife. Meanwhile, with the sons all locked in the dungeon, our queen's malicious plotting peaks when she smuggles in 3 daggers for them to use on their father.

The simplistic setting worked effectively for the numerous scene changes required. Dimly lit lanterns hung above the stage, while coats of arms lined the theatre walls. Director Brian Cavanagh deftly moved the characters through their paces and took full advantage of the theatre's entrances, most notably in the scene in the chamber of King Philip. Pacing never lagged, in this well rehearsed piece, which can often suffer under heavy handed direction.

Appropriately and oddly, the play concludes with a gentle moment between king and queen, before she is to be sent back to the tower. They contemplate their own mortality and question whether they may live forever. We learn that instead of waiting another full year to release her from her confinement, Henry may consider letting her out briefly for Easter...a proclamation that excites her. Just a few mere months before the venom can fly again between the co-dependent pair.

Performances will take place at The Andrews Theatre, the home of the Irish Classical Theatre Company, 625 Main Street, Buffalo, Friday, January 16 through Sunday, February 8, 2015. Performances are Thursday through Saturday at 7:30PM with matinees on Saturday at 3PM and Sunday at 2PM.

Single tickets are $39 each. Student tickets, with a valid student ID, are $15 each. On Sundays, tickets for seniors are just $35 each.
More information is available by Phone: (716) 853-ICTC (4282) and
Online 24/7: www.irishclassicaltheatre.com

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