The Midnight Company, and its artistic director, producer, frequent playwright and performer Joe Hanrahan, is quite possibly the busiest theater company in town. The fact the company has managed to add a full-length, full-scale production of The Lion in Winter to its season is remarkable. That the production is a riveting, mesmerizing drama with exceptional performances is profound.
It is Christmas 1183 and, after quelling an uprising that resulted in the death of his firstborn son and presumed heir, King Henry rules in relative peace. With an eye to preserving his legacy and averting war between his remaining sons Richard, Geoffrey and John, he has invited them and the queen, Eleanor of Aquitaine (who he’s imprisoned for her part in the uprising), home for Christmas and some spirited gamesmanship. Which prince will claim the crown and the hand of the French Princess Alais — and will Philip, Alais’ younger brother and newly crowned king of France, accept Henry’s choice? There’s also the question of Henry’s own deep infatuation with Alais and his passionate quarrels with his queen. Which woman will he choose if he can’t have both?
As Henry, Hanrahan is a wizened warrior king familiar with battles on and off the field and accustomed to getting his way. When relaxed and confident, Hanrahan’s Henry is pleasant; when pricked, he expands with imperious certainty and punitive reactions. Lavonne Byers is his perfect foil as Eleanor, playing her husband and sons against each other with cavalier cruelty and an effectively poisonous tongue. Whether the aggressor or deflecting attacks, she thinks she holds the upper hand though she unwittingly exposes herself to the sting of Henry’s brutal blow.
Joel Moses, as Richard, threatens any peace that doesn’t place him on the throne with fire, anger and the capacity to inflict lethal damage at any moment, at the tiniest provocation. Everyone recognizes and fears his militaristic enthusiasm and destructive prowess. As Geoffrey, John Wolbers may be the most successfully manipulative villain ever penned. His is a constantly calculating mind with the ability to pivot in the moment, keeping all paths open, and Wolbers shows each machination with barely concealed disdain. As youngest son John, Ryan Lawson-Maeske is pampered, pimple-faced and petulant with a boundless sense of entitlement. For self-preservation, Shannon Campbell’s Alais is smarter than she reveals and most acutely aware of her role as pawn, even to her upstart brother Philip, played with measured confidence and a vengeful edge by Michael Pierce.
A single set enables quick transitions and period-appropriate music keeps the story moving, while the armor, richly textured costumes and moody lighting enhance both the suspense and period. Director Tom Kopp guides the impeccable cast through the rising familial tensions and increasing stakes with a sure hand and an eye for highlighting conflict. Imagine the rapid-fire arguments of Succession set in medieval England, with more weapons and near-absolute power. If you are intrigued by sharp-tongued, quick paced suspense and scandalous drama, you don’t want to miss this electrifying production of The Lion in Winter.
Written by James Goldman. Directed by Tom Kopp. Presented by the Midnight Company at .Zach through October 21. Shows are at 8 p.m. Thursday to Saturday and at 2 p.m. on Sunday. Tickets are $20 to $25.
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