Stage Struck Review

Reviews for theater within the greater Los Angeles area.

Tighter Staging will Save the King! – “The Lion In Winter” in Whittier

William Crisp as Henry II confronts his sons in Whittier's "The Lion in Winter"

William Crisp as Henry II confronts his sons in Whittier’s “The Lion in Winter”

On the short list of 20th century playwrights whose work I love in part because if their rich use of language, James Goldman is right up there. Take, as example, his play “The Lion in Winter.” In many ways it proves very talky, but this drama pitting King Henry II of England against his sons, his imprisoned wife, and the King of France remains a constant favorite because the characterizations are rich, and the talk is clever, fast-paced and unrelentingly poetic. It’s a feast for the both the imagination and the ear.

Yet this can all careen off the tracks if the pace is too slow, or broken up too much. Heat drives this play, and heat onstage dissipates quickly if not constantly fed. Which brings me to the new production at Whittier Community Theater. The cast is, particularly in the two most central parts, excellent. The costuming and feel of the piece are right. But constant breaks in the pacing, caused by the need to move furniture between each one of the short vignette-like scenes, make it excruciatingly long. In the process, that elemental heat cools.

This is fixable, but it will take some creative restaging along the way. That would be wonderful, because rather than listening to an audience groan at the length, it would be terrific to be able to embrace this show for all the things it does right. They are many.

William Crisp makes a terrific Henry – playing the elaborate game of political competition with relish, bringing a consistency to this medieval king even as he is wound-able, strong, afraid of aging, and admiring of intellect equal to his own. Candy Beck tackles the prodigious Eleanor of Aquitaine, Henry’s wife, nemesis, equal, and prisoner let out for Christmas. In a subtle supporting role, and despite a somewhat questionable wig, Jamie Sowers proves on a par with these two powerful and powerfully played characters as the young Alais, sister to the King of France, raised at Henry’s court to be the next queen, yet become Henry’s mistress. Her subtle strength makes her less of a pawn than often played, leading to a particular inclusion in this fascinating trio.

The portraits of Henry’s three sons are a bit variable, though they power the piece when necessary. Colin McDowell’s Richard the Lionheart manages the mix of fragility and power necessary, but tends to deliver his lines in a comparatively hollow tone. Jonathan Tupanjanin makes Prince John just as much a spoiled child as is necessary. Thanks to one mention of his being pimply in the script, he has been given facial spots which look like large measles or major melanomas, and are very distracting. Acne is a bit more subtle, even onstage.

Brandon Ferruccio makes middle son Geoffrey as frankly devious as can be, becoming the most memorable of the sons. Despite another odd wig, Luke Miller makes the young king of France subtly mature and even more subtly as devious in his own way as Geoffrey. It’s an interesting take on the character.

Karen Jacobson and Nancy Tyler are to be celebrated for finding costumes which truly fit the characters and the time period. Set designer Mark Frederickson has created the impression of a medieval castle, which sets the tone, but as used may also be creating much of the problem.

In the hands of director Lenore Stjerne, every scene is centrally staged, and uses the entire set. This means that between each scene lights dim, stagehands come out and move furniture, place or replace candles, hang tapestries, etc. – a project which can take 3 minutes or so. That’s too long, as pacing is key to effectiveness in this play. The use of “trucks,” which allow the quick wheeling in and out of setting pieces, or simply isolating some scenes in one part of the stage which is preset for the purpose, would solve this show’s one major problem and let people go home about a half hour earlier.

And that would be good, because this version of “The Lion in Winter” is definitely worth seeing, especially for the performances of the two leads. Hopefully the timing glitches will be solved by the start of the second weekend.

What: “The Lion in Winter” When: through November 22, 8 p.m. Fridays and Saturdays, with a 2:30 p.m. matinee on Sunday November 16 Where: The Center Theater, Whittier Community Center, 7630 Washington Ave. in Whittier How Much: $15 general, $10 seniors/students/military with ID Info: (562) 696-0600 or http://www.whittiercommunitytheatre.org

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