BWW Reviews: Conquering THE LION IN WINTER

During the holidays, no family is perfect - the royal family headed by King Henry II of England is certainly no exception.

James Goldman's The Lion in Winter focuses on Henry II and his bizarre family dealings at his 50th Christmastide. Henry must finally declare who will be his heir, let his wife out of prison for the holiday, keep his mistress happy, keep his sons from wreaking havoc on one another, and keep King Philip II of France occupied. It makes for a history lesson filled with quips, knives, and the occasional love scene. With direction from Scott Albert Bennett, the company at Strollers Theatre took the challenge head on.

Starring John Jajewski as Henry II, the show resonates through the quaint space. Jajewski's control of the stage is remarkable - his bellowing suited for the lion crested king. With repeated references to his aging body, Jajewski moved through the scenes as a majestic king of the jungle. His grasp of the demeanor of the famed king was genuine, emotion pouring out of every word. His line, "they will do me justice", in reference to history - is granted through Jajewski's performance.

Equally engaging was Kathy Lynn Sliter as Henry's incarcerated Queen, Eleanor of Aquitaine. Sliter's sly grin paired with her remarkable sense of comedic timing makes her the ideal for this role. Eleanor has to be brought to life by a woman with venom in her words as she plays the dutiful mother. As a character that plays the line of victim or villain, Sliter's portrayal of the queen was spot on.

However, the one moment that held the most attention was Richard's silent agony as his father rampages in the dungeons. Joshua Paffel did not attempt to pull focus while surrounded by his warring family at the table, but his wavering strength and small gestures brought heartache to his particular audience member. It is the instance in the production that a character just breaks. With no devious intent, Paffel genuinely allows his persona to begin to crumble. For a few fleeting minutes, Richard ultimately becomes the protagonist in his father's tale.

One character whose personality lost its luster was Dunes' Prince Geoffrey. Dunes' conviction as well as his

magnificently dry sense of humor brought about many laughs, particularly from this observer, and fit the prince's indifference to a tee; though the monotone delivery of Geoffrey's quips grew old after a while. With his often neutral stance, Dunes was able to convey how disconnected his character was to the others from his family, and adding a bit more variety in his vocal tonality would not alter Geoffrey's personality. When he gets the opportunity to be center stage among his family that he feels does not pay him enough attention, he should change at least the slightest bit for his time in the spotlight.

The Lion in Winter requires a number of scene changes, introducing innovations put together by Landon Petersen - beds emerging from walls, draperies constantly changing, and tables serving as multifunction pieces throughout the castle as well as the prison chambers. These several transitions transform the space with ease because of its clever functionality and Petersen should be applauded for the conceptual design.

Under Bennett's control, the cast of historical figures comes back to life at Bartell Theatre. Their many bouts with one another reminding audiences that family feuds have not changed a great deal since the 1100s. Though the production is lengthy, its performers engage their observers- which is necessary to make The Lion in Winter a success. Laughs are plentiful, knowledge is gained, and respect is created for historical figures that are often forgotten.

All in all, The Lion in Winter roars on.

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