There are times when producing an extremely familiar piece of theater can be both a blessing and a shortcoming.
This is the case of ”The Lion in Winter” playing through Sunday at Bridge Street Theatre in Catskill. The play written by James Goldman, set in 1183, is a fascinating look at the power dynamics of the family of King Henry II.
It’s such a solid piece of writing, combined with intense acting and constantly changing power dynamics it should please most audiences. But there are expectations when not deliver seem like flaws.
This is not a weak production of “The Lion in Winter,” but neither is it an impressive one. Maybe I’m just spoiled, as past experiences at Bridge Street Theatre have me expecting the exceptional.
Henry is growing old and is compulsive about naming an heir from his three sons - Richard, Geoffrey and John. A problem is each lacks the qualities necessary to be a strong ruler. The production emphasizes their lack of leadership potential by having the actors appear inept and each fails to project Alpha-male qualities.
The heart of the play is the battle between Henry and his wife, Eleanor. Henry’s favorite is the shamefully weak John.
His mother, the imprisoned but still formidable Eleanor of Aquitaine, favors the battle-hungry, but politically inept, Richard. This leaves the dangerous Geoffrey with a severe case of middle-child syndrome.
The machinations, scheming and plotting that take place within the family is well-established and will certainly engage audiences. Adding to the intrigue is the shifting alliances with Philip, the young King of France.
The Bridge Street production effectively captures the drama and intrigue of creating a dynasty that will rule indefinitely.
However, in so doing, it often falls short on the human side of the drama. The production becomes a stage full of types, rather than the conflicted individuals they really are.
I attended a preview production at which the actors performed in front of an audience for the first time. With this in mind, it is certain that the characterizations will tighten rather quickly. However, the choices that make them more types than real people will mostly stay intact.
A difficulty any production of “The Lion in Winter” must conquer is the problem of making an epic story intimate enough for it to be felt as a family drama. To be sure, one of the most dysfunctional families ever, but a family tale nonetheless. Here the Bridge Street production is lacking.
Henry is a bigger than life character whose strong will and determination make him almost a force of nature. Steven Patterson’s performance is more internal. We admire the man as a brilliant tactician who is always steps ahead of his opponents- which produces several delicious victories for Henry.
We also feel his pain at not having control over his family. Patterson creates a shrewd, tormented character who gains our pity as much as he does our contempt.
However, missing the danger which an explosive unpredictable approaches offers. You admire Patterson’s work but rarely are you fearful of the character’s near-mythical menacing reputation.
Leigh Strimbeck is also effective as the Queen who is Henry’s equal in scheming. Elizabeth of Aquitaine was one of the world’s most amazing and accomplished women. Strimbeck captures her confidence and political skills. There are many moments you fear her more than Henry.
The cost of he diabolical portrayal is it doesn’t capture the grandeur and natural grace of the woman. Her Elizabeth tends to be petty and sarcastic rather than a dignified contrast to Henry’s impulsive crudeness.
Nonetheless, the scenes between the two are often compelling but under the direction of John Sowle expose a flaw in the play’s construction. The work is actually a series of scenes in which a shrewd conspiracy is proposed only to be revealed as bogus.
In fact, it happens with such frequency one stops believing any character. Worse, you wonder why the characters keep falling for the lies.
This adds to the problem of the four male supporting characters. Every actor creates a morally frail individual who seems too inept to even survive in such a barbaric world.
On the other hand, Alais, Henry’s young powerless mistress, played by Geneva Turner, shows gumption and strength.
In still another example of a strength being a weakness is the set design by director Sowle. It’s a logical use of a turntable used to speed scene changes and facilitate the many, many exits and entrances.
Though clever, the size of the turntable reduces the playing space by almost half. This is a serious problem, as it frequently clusters characters on stage making for awkward blocking, and moments where plots should be overheard by the betrayed individual.
Perhaps the set is an appropriate metaphor for the entire production. It looks great and is functional most of the time. Unfortunately, it doesn’t always best serve the play.
“The Lion in Winter” continues through Sunday at 44 West Bridge Street, Catskill. For tickets and schedule information call 518-943-3818 or go to bridgest.org
Bob Goepfert is theater reviewer for the Troy Record.
The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.
