REVIEW: Powerful, Chilling “Lion in Winter” Roars in Moline
Long before the acclaimed black comedy-drama “Succession” ruled prestige TV (on HBO 2018-23), two other intense royal power struggles ruled stages and screens – Shakespeare’s “King Lear” (1606) and James Goldman’s “The Lion in Winter” (1966).
Logan Roy (the scarily intimidating Brian Cox) of “Succession” wasn’t an actual king, but a media king, utterly ruthless, as his four children battle over eventual control of his empire. “Lear” takes place in ancient Britain (centuries before the advent of Christianity), centering on an aging, controlling monarch, his three daughters and who will succeed him.
The Black Box Theatre in downtown Moline is presenting the other tense, gripping tale of royal succession in an extraordinary production of “The Lion in Winter,” which will run through Dec. 6. Fitting for its Christmas 1183 setting, the play is chilly, with good doses of black humor, backstabbing, scheming, intrigue, withering insults and tremendously satisfying in its acerbic, witty dialogue, penetrating performances, and sumptuous set and costumes.
Kassidy Holdridge and Tyler Henning in “The Lion in Winter.”
Aside from knowing “Lion in Winter” was made into a 1968 film (co-starring Peter O’Toole and Katharine Helpburn), which won Goldman an Oscar for his screenplay, I could not tell you what the Shakespeare-adjacent story was about. You need not either to bask in wonder and awe at this mesmerizing show, expertly assembled like a chess master by director Noah Hill.
Based on the life of the real King Henry II, who ruled over England and Ireland during the 12th century, “The Lion in Winter” concerns a number of fictional events that take place during a Christmas feast Henry II throws for the new King of France at Henry’s French chateau. The feast is attended by Henry’s three sons, each of whom schemes to usurp the throne.
Jeremy Mahr as King Henry and Kassidy Holdridge as his mistress in “The Lion in Winter.”
This is a royally dysfunctional family – led by the power-hungry, cold and calculating Henry, perfectly portrayed by Jeremy Mahr, who appropriately played Lear in Alexander Richardson’s “To Leer at Lear” at the Black Box in July.
The only quibble I had with performances of the seven-member “Lion” cast is that some have English accents and some (like Mahr) do not. It seems like they all should (save Thayne Lamb as the devious, dashing King Philip of France) or none should. Needless to say, that does not detract from the incredible heft and persuasiveness of their characters.
At the play’s outset, we see the tender bond between Henry and his young mistress, Alais, who is Philip’s sister. Meanwhile, Henry’s wife, Eleanor of Aquitaine (ruler over this southwestern region of France, whose capital is Bordeaux), has been imprisoned for some unknown reason.
The tall, thin and striking Kassidy Holdridge seems born for Alais, displaying a ramrod-straight, regal, star quality. Alais appears like she may be the only sympathetic character in this lion’s den with a conscience and morals, at one point blurting out, “There are kings and queens everywhere, and I’m the only pawn.”
Holdridge is heartbreakingly emotional, and her eyebrows alone are an incredible expressive tool. They do more than furrow; they burrow into your soul.
Part of what makes this production so admirable is Black Box co-founder and artistic director Lora Adams (as Eleanor), who has long wanted to do the play, and in fact at first was its director. Six weeks before opening night (Nov. 21, when she said afterward she was sick), the actress who had been Eleanor had to drop out for health reasons, and Adams bravely stepped in and I can’t imagine anyone better in the role, which also shows some heart and humanity.
Adams also designed the handsome set and costumes and had a stellar crew helping with the set — including Michael Kopriva, Jim Driscoll, Kirsten Myers, Rori Myers, Tyler Henning, Thayne Lamb and Gryffin Myers.
Kassidy Holdridge, left, Thayne Lamb, Tyler Henning and Jacob Lund.
The royal family tries to hide their dysfunction from the King of France as Henry and Eleanor pit their sons against each other in a complex political battle. The king reveals that he hopes for his youngest, John, to succeed him as king, while Eleanor wants Richard (the eldest) to take the throne.
Meanwhile, the third son, Geoffrey, reaches out to Philip trying to forge an alliance and steal the throne. Philip II was the son of Eleanor’s ex-husband, Louis VII of France.
Jeremy Mahr and Lora Adams in the new Black Box production of “The Lion in Winter.”
The production’s very different three sons are all excellent – Matt Walsh as Richard, Jacob Lund as John and Tyler Henning as Geoffrey. Lamb is wonderful as Philip.
Under director Hill’s leadership, the wild tale is a nail-biter until the end, aided with atmospheric recorded choral music, and a dramatic underscore during a climactic late scene, borrowed directly from the film’s soundtrack.
At the Black Box (1623 5th Ave., Moline), sound design is by Alex Richardson, with sensitive light design by Jennifer Kingry.
The show will continue the next two weekends – Friday and Saturday at 7:30 p.m., and Sunday at 2 p.m., with the final week will be Thursday, Friday and Saturday at 7:30 p.m. Tickets ($18 each) are available at theblackboxtheatre.com or at the door.
Lora Adams as Eleanor of Aquitaine and Kassidy Holdridge as Alais in “The Lion in Winter.”
Leave a Reply
You must be logged in to post a comment.