BY ADAM M. SCHENCK
The Guthrie’s new artistic director, Joseph Hajj, brings a Christmastime drama to the Guthrie, “The Lion in Winter,” a political intrigue play that offers Minneapolitans hope. Could it be that our times are better than in 1183, when Henry II of England mulled over which son would inherit his throne?
“The Lion in Winter” posits its conflict early, when Henry II says, “Well—what shall we hang? The holly … or each other?” And you thought your family holiday gatherings were tough.
The death of Henry II’s eldest son, Henry the Younger, has thrown the entire royal succession system into disarray. The aging king (played by Kevyn Morrow) wishes to keep his consolidated lands instead of splitting them amongst his three other sons (Richard, Geoffrey and John). Add in Queen Eleanor of Aquitaine, Henry’s mistress, Alais Capet (portrayed by Thallis Santesteban), and a visiting frenemy in Prince Philip II, and we have the makings of a Shakespearean drama where everyone dies at the end but minus the unfamiliar language.
Those worried about the new U.S. administration can take solace by enjoying “The Lion in Winter”—things could always be worse, after all. All three spoiled sons want to be king, and in their own style. Richard (Torsten Johnson) is a warrior, Geoffrey is the intelligent schemer (Michael Hanna), and John (Riley O’Toole) is the father’s favorite, and youngest, son.
The script introduces seemingly every possible alignment of characters as they seek to undercut Henry II’s plans for his successor(s). With a cast of seven, that makes for a lot of chess moves. Eleanor (Laila Robins, who recently appeared in an episode of ABC’s “Quantico”) dominates these proceedings.
Succession makes for compelling drama: Who will take power? After reading the Wikipedia page for Henry II, I can summarize it thus: More land, more problems. (Land equaled money in medieval times.)
Most notable about this production is the impressive rotating set, created by Beowulf Boritt and Christopher Ash, which the program describes as weighing 8,000 pounds. Its three levels make characters tower above the audience and indeed creates a castle for this family—a dark, cold, foreboding castle.
Overall, this production’s attention to historic detail inspires, stemming from the efforts of dramaturg Carla Steen and costume designer Karen Perry. Lighting design from Clifton Taylor emphasizes the overwhelming physical force of the stage, which has to be seen to be understood.
The Guthrie’s description calls “The Lion in Winter” a “viciously funny drama” and a “family feud.” When our night’s performance was over, I felt relief—not so much because of the piercing ending but because of the bulldozer-like intensity of director Kevin Moriarty’s powerful cast.
“The Lion in Winter” plays at the Guthrie’s McGuire Proscenium Stage through Dec. 31. Contact Adam M. Schenck at [email protected].
