“Should we start the soup with who we love and who we don’t?” –King Henry II, The Lion in Winter
Well I returned to Hunger Artists Theatre to see The Lion in Winter, which is quite a different play from Frankenstein in Love. It was rather remarkable how different the stage looked from the rather elaborate set before, representing several locations, to the now almost bare stage; the only props were a table with chairs and a throne, with a few Christmas decorations to remind one of the season.
The premise of the play is this: It is Christmas Eve, year 1183, at King Henry II’s court, where his wife Queen Eleanor (whom King Henry has had imprisoned in a tower), and three sons, Richard, Geoffrey and John have all gathered to settle certain affairs. These affairs are who is to be the next king? Eleanor wants their eldest, Richard, while Henry wants their youngest John to take the throne. Geoffrey constantly switches sides, playing whichever one seems to (currently) be giving him the best offer. King Philip of France pays a visit, adding another twist to their strategizing, for he comes to remind Henry of a treaty he signed several years earlier, promising to have the heir of the throne to marry Philip’s sister. However, Alais has been Henry’s mistress for the past seven years so he is reluctant to give her to any of his sons.
When I read the premise of The Lion in Winter beforehand, it sounded very much like a drama–actually it brought to mind Shakespeare, and it definitely has similar elements, however it has many marvelous moments of humor. (Which is Shakespearean too–Hamlet always makes me laugh out loud at moments. Is that just me?) Although the parts that stuck with me the most were the performances of Mark Coyan and Amber Scott, who gave such life to their Henry and Eleanor, respectively. I could feel how much this couple hated yet loved each other. They wanted to cheat and deceive each other out of everything and anything, just to say they were the victor, yet they knew this about each other and loved every minute of it. I don’t think they truly cared about the outcome, but enjoyed the scheming so much. You can definitely see where their children get it from.
What is so ironic, is the main argument is whom is to become the next king, which son will get chosen, yet I felt that Henry and Eleanor cared more about themselves, obviously but also about each other than they did their sons; that their sons were mere devices and excuses to see each other, to spend time together. Theirs is a relationship that has gotten lost along the way, fallen apart so many times you wonder what’s holding them together, but when they share that stage you feel that spark, that sexual tension that’s so delightful. Truly, they steal the show, for I look forward to any scenes they share together. Scott as Eleanor was especially enchanting–she was wonderfully conniving and charming.
The script of the play itself seems so fresh, it’s rather interesting to think of it as “historical”–either because of the 12th century time period of the characters or the 1960’s of the time it was written–yet I find it remains relatable in the 21st century. Although the plot is historically based, the main themes are really family, and even royalty has dysfunctional lives (perhaps more so, since we can’t really start a war over a family tiff).
It was a nice play for the season–what better defines December than Christmas and dysfunctional family? And I remain impressed with the Hunger Artists Theatre, not only for their choices of scripts, but their stellar actors. It may be a small theatre, but certainly not small on talent. If you have a chance, see The Lion in Winter–it plays until December 20, Fridays and Saturdays at 8PM and Sundays at 7PM, with a special performance on Thursday, December 17 at 8pm. And if you go this coming Friday or Saturday you can catch a performance of the OC Underground Burlesque Society. Now if that doesn’t say Christmas, I don’t know what does.
Photos provided by The Hunger Artists Theater Company
