REVIEW
Lion in Winter
by James Goldman
22nd November to 26th November
Palace Theatre, Dixon Studio, Westcliff
Lion in Winter
by James Goldman
22nd November to 26th November
Palace Theatre, Dixon Studio, Westcliff
A history play with a difference
Just like it says on the tin, this really is a play with a difference. History plays aren't always everyone's cup of tea; they can often be wordy and complicated and let's face it, quite often dull. This production, fortunately, only ticks one of these boxes - it is a teeny bit on the wordy side. BUT, and there's a big BUT here, the Lion in Winter's director, Jacquee Storozynski-Toll, has given the play a few touches and twists that, for me, really enhance the plays watchability factor.
American playwright, James Goldman, wrote the screenplay for the Lion in Winter which starred Katherine Hepburn and Peter O'Toole in 1968, receiving an Academy Award for the film. He is also perhaps more well known for being the writer of the book for the Broadway musical, Follies. For the Lion in Winter, the author himself admitted that it was a peculiar and special sort of history play and, with that in mind, I believe it takes a certain type of director to embrace this concept, seize it wholeheartedly and be able to sell it to an audience.
Does it work? Let me try and set the scene. It is 1183 and the play is based on the real life characters of Henry II and his three sons Richard, Geoffrey and John who are all arguing over who will take the throne. His wife, Eleanor of Acquitaine has been locked away in order for Henry to philander with other women, at this moment in time and in this instance it is Alais, sister of Philip, King of France.
Although the characters are historically real, the actions that take place within the play are purely fictional - or are they? The history books give us the facts as they are written but just like any home - or castle in this respect - do we really know what goes on behind closed doors?
With scenery and costumes mostly of the period, the play unfolds to reveal a modern day theme with its dialogue, attitudes, anger and lust all contributing towards a view of a horribly dysfunctional family that is as relatable in 2022 as it was in 1183 and quite possibly all the hundreds of years in-between.
What is also a glaringly obvious difference to this production is the addition of popular music songs that characters mime to; which at first does take you a little by surprise but once you've gotten over the fact that these historical characters are miming along to the likes of Madonna, Michael Ball and Robbie Williams, you realise that this is actually both a nice bit of relief from the aforementioned wordy dialogue plus, it also helps you to understand the character's mindset and moves the story along rather well. The songs have clearly been very cleverly chosen. I think, for a more dramatic effect and by way of helping the audience appreciate these fantasy-like sequences, it would perhaps be a nice idea to change the lighting so that we can see the characters come in and out of these moments.
Getting a cast to take on such roles and embrace this performance style is a big ask and takes 100% commitment and every actor delivered here.
Adam Mayhew, Nicholas Jacobs and Jay Woods as Richard, Geoffrey and John all portray their roles with their own individual touches and form each character well. I particularly liked John's vulnerability as the supposed favourite and younger brother. It was good to see Nicholas Jacobs in a role that doesn't involve slapstick and I would like to see him play more dramatic characters in future productions. Adam mostly played his role as a pretty cool dude throughout and so it was refreshing to see Richard showing some 'Lionheart' values in the ending scenes.
Daniella Lowe plays Alais nicely and Jack Byrne as her brother, Philip, puts in a lovely performance as the King of France. Jack has a great speaking voice for stage and it's always good to hear that clarity and diction in theatrical productions from younger performers.
Jeremy Battersby takes on the role of Henry II with suitable aplomb and grandeur but is at his best when sparring with Elizabeth Smith, playing Eleanor, the Queen who has been dispatched to the dungeon in order for Henry to shack up with the much younger, Alais as his mistress; a bitter blow for Eleanor who actually helped to bring the girl up, although she would never let the bitterness show, outwardly displaying all the wit and sass of a true heroine. You wouldn't want to mess with her, put it that way.
Elizabeth Smith totally gets the role that is being asked of her and throws herself into this part. She plays the ageing Queen fantastically well and really knows how to deliver the tac sharp comedy that is needed in this role. She also does a great job of miming to the songs she's been given, not least with Madonna's You'll See, which was really nicely played.
So, back to my question, does it work? For me, yes, it does. I liked the fact that despite my ignorance of the historical period it covered, it made me want to find out more about what happened to this messed up royal family; it made me want to research the playwright and understand his mindset. I liked that it kept me engaged with its quirkiness and humour and that it delivered some knock out performances from the lead characters.
It won't be everyone's cup of tea but it was definitely mine.
Review: Kim Tobin
The run continues all week until Saturday (inc Sat matinee)
Tickets available from the Box Office 0343 310 0030
https://southendtheatres.org.uk/Online/tickets-lion-in-winter-southend-2022
An amateur production
£15.50 / £14.50 conc
A £3.65 transaction fee may apply to your order
American playwright, James Goldman, wrote the screenplay for the Lion in Winter which starred Katherine Hepburn and Peter O'Toole in 1968, receiving an Academy Award for the film. He is also perhaps more well known for being the writer of the book for the Broadway musical, Follies. For the Lion in Winter, the author himself admitted that it was a peculiar and special sort of history play and, with that in mind, I believe it takes a certain type of director to embrace this concept, seize it wholeheartedly and be able to sell it to an audience.
Does it work? Let me try and set the scene. It is 1183 and the play is based on the real life characters of Henry II and his three sons Richard, Geoffrey and John who are all arguing over who will take the throne. His wife, Eleanor of Acquitaine has been locked away in order for Henry to philander with other women, at this moment in time and in this instance it is Alais, sister of Philip, King of France.
Although the characters are historically real, the actions that take place within the play are purely fictional - or are they? The history books give us the facts as they are written but just like any home - or castle in this respect - do we really know what goes on behind closed doors?
With scenery and costumes mostly of the period, the play unfolds to reveal a modern day theme with its dialogue, attitudes, anger and lust all contributing towards a view of a horribly dysfunctional family that is as relatable in 2022 as it was in 1183 and quite possibly all the hundreds of years in-between.
What is also a glaringly obvious difference to this production is the addition of popular music songs that characters mime to; which at first does take you a little by surprise but once you've gotten over the fact that these historical characters are miming along to the likes of Madonna, Michael Ball and Robbie Williams, you realise that this is actually both a nice bit of relief from the aforementioned wordy dialogue plus, it also helps you to understand the character's mindset and moves the story along rather well. The songs have clearly been very cleverly chosen. I think, for a more dramatic effect and by way of helping the audience appreciate these fantasy-like sequences, it would perhaps be a nice idea to change the lighting so that we can see the characters come in and out of these moments.
Getting a cast to take on such roles and embrace this performance style is a big ask and takes 100% commitment and every actor delivered here.
Adam Mayhew, Nicholas Jacobs and Jay Woods as Richard, Geoffrey and John all portray their roles with their own individual touches and form each character well. I particularly liked John's vulnerability as the supposed favourite and younger brother. It was good to see Nicholas Jacobs in a role that doesn't involve slapstick and I would like to see him play more dramatic characters in future productions. Adam mostly played his role as a pretty cool dude throughout and so it was refreshing to see Richard showing some 'Lionheart' values in the ending scenes.
Daniella Lowe plays Alais nicely and Jack Byrne as her brother, Philip, puts in a lovely performance as the King of France. Jack has a great speaking voice for stage and it's always good to hear that clarity and diction in theatrical productions from younger performers.
Jeremy Battersby takes on the role of Henry II with suitable aplomb and grandeur but is at his best when sparring with Elizabeth Smith, playing Eleanor, the Queen who has been dispatched to the dungeon in order for Henry to shack up with the much younger, Alais as his mistress; a bitter blow for Eleanor who actually helped to bring the girl up, although she would never let the bitterness show, outwardly displaying all the wit and sass of a true heroine. You wouldn't want to mess with her, put it that way.
Elizabeth Smith totally gets the role that is being asked of her and throws herself into this part. She plays the ageing Queen fantastically well and really knows how to deliver the tac sharp comedy that is needed in this role. She also does a great job of miming to the songs she's been given, not least with Madonna's You'll See, which was really nicely played.
So, back to my question, does it work? For me, yes, it does. I liked the fact that despite my ignorance of the historical period it covered, it made me want to find out more about what happened to this messed up royal family; it made me want to research the playwright and understand his mindset. I liked that it kept me engaged with its quirkiness and humour and that it delivered some knock out performances from the lead characters.
It won't be everyone's cup of tea but it was definitely mine.
Review: Kim Tobin
The run continues all week until Saturday (inc Sat matinee)
Tickets available from the Box Office 0343 310 0030
https://southendtheatres.org.uk/Online/tickets-lion-in-winter-southend-2022
An amateur production
£15.50 / £14.50 conc
A £3.65 transaction fee may apply to your order
Lindisfarne Productions are performing the play Lion in Winter by James Goldman, 22nd November to 26th November at the Palace Theatre, Dixon Studio. In the past few years, the group have become known for farces and thought it was about time they tried something different.
Lion in Winter, although a play, is well known as an Oscar winning film starring Katherine Hepburn and Peter O’Toole. Although set in 1183, it is a peculiar sort of history play. Although it is based on the real characters of Henry II and his three sons Richard, Geoffrey and John arguing over his throne, and manipulated by the wife he has imprisoned, Eleanor of Aquitaine, it is entirely modern in its concept. There are anachronisms in speech, with modern dialogue, thought, habit, custom and so on and their character and passions whilst consistent with the historical events are complete fiction.
It is just the same as any dysfunctional family of today with all the plotting and backstabbing. One son is a dominating bully, another crafty and scheming and the youngest a spoilt brat. All around is treachery and intrigue, only now it is about who will inherit the throne, how their mother, Eleanor can play one off against the other, and how the ageing father, the King can get a bit of peace and quiet. It isn’t helped by the fact he has found himself the French King’s young sister to help him pass the time, much to his wife’s annoyance. All this is played with humour as well as drama.
The director Jacquee Storozynski-Toll, has always wanted to direct this play since she once saw her son playing Richard (later the Lionheart), in a university production. However, she felt that although the characters are real historical people and the work complete fiction, it needed to be much larger and more obvious. As a result, she has made it into a stylised production with no attempt to be literal, there are no period costumes, and the addition of popular music brings it up to date.
Jacquee wants to make it clear to the audience that what they are seeing is a different kind of historical play, making it an enjoyable theatrical experience.
If you want to see a period play with a difference, buy your tickets now.
Tickets available from the Box Office 0343 310 0030
https://southendtheatres.org.uk/Online/tickets-lion-in-winter-southend-2022
An amateur production
£15.50 / £14.50 conc
A £3.65 transaction fee may apply to your order
Lion in Winter, although a play, is well known as an Oscar winning film starring Katherine Hepburn and Peter O’Toole. Although set in 1183, it is a peculiar sort of history play. Although it is based on the real characters of Henry II and his three sons Richard, Geoffrey and John arguing over his throne, and manipulated by the wife he has imprisoned, Eleanor of Aquitaine, it is entirely modern in its concept. There are anachronisms in speech, with modern dialogue, thought, habit, custom and so on and their character and passions whilst consistent with the historical events are complete fiction.
It is just the same as any dysfunctional family of today with all the plotting and backstabbing. One son is a dominating bully, another crafty and scheming and the youngest a spoilt brat. All around is treachery and intrigue, only now it is about who will inherit the throne, how their mother, Eleanor can play one off against the other, and how the ageing father, the King can get a bit of peace and quiet. It isn’t helped by the fact he has found himself the French King’s young sister to help him pass the time, much to his wife’s annoyance. All this is played with humour as well as drama.
The director Jacquee Storozynski-Toll, has always wanted to direct this play since she once saw her son playing Richard (later the Lionheart), in a university production. However, she felt that although the characters are real historical people and the work complete fiction, it needed to be much larger and more obvious. As a result, she has made it into a stylised production with no attempt to be literal, there are no period costumes, and the addition of popular music brings it up to date.
Jacquee wants to make it clear to the audience that what they are seeing is a different kind of historical play, making it an enjoyable theatrical experience.
If you want to see a period play with a difference, buy your tickets now.
Tickets available from the Box Office 0343 310 0030
https://southendtheatres.org.uk/Online/tickets-lion-in-winter-southend-2022
An amateur production
£15.50 / £14.50 conc
A £3.65 transaction fee may apply to your order
CURTAIN CALL
Jay in rehearsal for Lion in Winter Photo Credit: Kim Tobin Photography
We asked Jay Woods who plays John, Henry’s youngest son, in The Lion In Winter to answer a few questions about themselves!
When did you start to take an interest in theatre? Did you take part in any productions at school?
I don’t have a specific pivotal moment where I recall becoming interested in theatre, I just always have been. And there wasn’t really much in the way of drama provided at my schools, so who knows how I ever initially developed an interest in it, but I clearly did so enough to choose to pursue a career in it.
Are or were any members of your immediate family involved in drama?
Nope.
Have you done any sort of formal training for acting/singing/dancing?
Yeah, I only recently graduated from drama school, and I did an acting course during my gap year as well.
Do you have any specialist skills – anything from stilt walking to dress-making – which you work into your repertoire?
I work with fire occasionally, including fire nunchakus, fire sword, and fire staff.
What has been your most embarrassing moment involving drama, on or off stage?
I once, whilst suffering from a very bad case of tonsillitis, almost passed out on stage to such an extent that I had to find a way to subtly sit on the floor without breaking character, and did so by going “hey, you know how whenever I’m really excited, I like, pass out? Well, I’m going to need to sit down now because I’ve got something very exciting to tell you.” It perhaps wasn’t the most subtle moment in hindsight.
What job do you do?
I do a lot of facilitation of different workshops and community theatre projects, as well as occasionally managing to get paid for acting gigs. And then the classic hospitality jobs for when the arts isn’t quite paying as much as I might like.
When did you start to take an interest in theatre? Did you take part in any productions at school?
I don’t have a specific pivotal moment where I recall becoming interested in theatre, I just always have been. And there wasn’t really much in the way of drama provided at my schools, so who knows how I ever initially developed an interest in it, but I clearly did so enough to choose to pursue a career in it.
Are or were any members of your immediate family involved in drama?
Nope.
Have you done any sort of formal training for acting/singing/dancing?
Yeah, I only recently graduated from drama school, and I did an acting course during my gap year as well.
Do you have any specialist skills – anything from stilt walking to dress-making – which you work into your repertoire?
I work with fire occasionally, including fire nunchakus, fire sword, and fire staff.
What has been your most embarrassing moment involving drama, on or off stage?
I once, whilst suffering from a very bad case of tonsillitis, almost passed out on stage to such an extent that I had to find a way to subtly sit on the floor without breaking character, and did so by going “hey, you know how whenever I’m really excited, I like, pass out? Well, I’m going to need to sit down now because I’ve got something very exciting to tell you.” It perhaps wasn’t the most subtle moment in hindsight.
What job do you do?
I do a lot of facilitation of different workshops and community theatre projects, as well as occasionally managing to get paid for acting gigs. And then the classic hospitality jobs for when the arts isn’t quite paying as much as I might like.
Jay performing with Unpuzzled Theatre Co recently Photo Credit: Kim Tobin Photography
Are your friends mostly involved in theatre - perhaps even working with you on a regular basis - or do you socialise across a wider circle?
Most of my friends are actors, or are in some way involved in the arts, although that’s not a deliberate choice on my part. It’s just the people I tend to meet.
Which actor do you most admire and why?
Michael Sheen, on account of the fact that he is now a not-for-profit actor, and is involved in a lot of community theatre projects and with helping increase access to the Arts for all. Also, he is a very good actor with a stunning range.
What role would you most like to play and why?
Hamlet. At the globe. Because why not dream big?
Tell us a bit about your part in "The Lion In Winter”
I play the part of John, the youngest of three brothers vying for the throne, and somehow next in line despite being the youngest, the weakest, and the least intelligent of the three. Spoiled and bratty, he embodies the energy of every annoying younger sibling.
Any plans for the future, after “The Lion In Winter”
I want to continue to do more am dram alongside my professional work, as it’s quite nice to be able to do acting for the simple joy of it as opposed to thinking of it as just the next job (not that I don’t also love my professional gigs!).
Most of my friends are actors, or are in some way involved in the arts, although that’s not a deliberate choice on my part. It’s just the people I tend to meet.
Which actor do you most admire and why?
Michael Sheen, on account of the fact that he is now a not-for-profit actor, and is involved in a lot of community theatre projects and with helping increase access to the Arts for all. Also, he is a very good actor with a stunning range.
What role would you most like to play and why?
Hamlet. At the globe. Because why not dream big?
Tell us a bit about your part in "The Lion In Winter”
I play the part of John, the youngest of three brothers vying for the throne, and somehow next in line despite being the youngest, the weakest, and the least intelligent of the three. Spoiled and bratty, he embodies the energy of every annoying younger sibling.
Any plans for the future, after “The Lion In Winter”
I want to continue to do more am dram alongside my professional work, as it’s quite nice to be able to do acting for the simple joy of it as opposed to thinking of it as just the next job (not that I don’t also love my professional gigs!).
Below: the cast in rehearsal
Photo Credits: Kim Tobin Photography
Photo Credits: Kim Tobin Photography
