The Lion in Winter

We all love characters to hate and there’s no shortage of them in James Goldman’s 1966 dysfunctional-family historical drama The Lion in Winter. Set in France at Christmas 1183, it sets up a battle for the English throne between the ruling monarch Henry ll, his wife Eleanor of Aquitaine, and his three sons, Richard, Geoffrey, and John. When the play was written in 1966 it was criticized for its anachronistic dialogue, but in the era of Games of the Thrones it almost seems contemporary. And if you think you’ve seen it in a more modern version, you have, because the Fox TV drama Empire is explicitly based on it, even down to naming the family Lion.

The fun and games begin when this family from hell all assemble at Chinon, France for the festive season. The question is who will Henry choose to succeed him? The youngest son John is an early favourite until suddenly Richard appears to be the winner, but then Eleanor, who has been released from prison for the occasion, starts plotting with all three heirs to overthrow Henry, a replay of a plot that has seen her previously incarcerated for a decade. Throw in a mistress Princess Alias, the young King Phillip of France, a homosexual liason, and the machinations of the gathering are ripe and tawdry.

Adrian Carr’s King Henry is a lovable rogue, a serial philanderer, and a man who relishes pitting his sons against each other. In his hands Goldman’s caustic wit ripples with venom whenever he is on stage. It’s a performance of pithy power. Opposite him as Eleanor, Linda Shapcott, who previously played the part for Ipswich Little Theatre nine years ago, is just as venomous, just as caustic, and just as devious in her desire to get what she wants. Together they spar brilliantly like prize-fighters searching for the killer punch.

Steven Carmichael stands-out as the brooding warrior son Richard, whilst Kyle Breeze’s Geoffrey displays naked ambition that we know he’ll never fulfil. Kari Sterling (Alias), Matthew Levy (John) and William Sampson (Phillip) have their moments and all add to this high-octane drama.

Set and costumes clearly delineate the period, while David Austin’s clear-cut direction is a cut above the norm. This is classy community theatre!

Peter Pinne