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Charlie
Mount and Theatre West Present a Chestnuts Production Call
323-851-7977 This show contains brief, tasteful nudity. AMERICAN SIGN LANGUAGE PERFORMANCE SCHEDULED On Sunday, March 19th at 2pm "The Lion In Winter" will provide American Sign Language interpreters. For information please contact Associate Producer Brenda Reynolds. THE
AQUITAINE CAST THE
VEXIN CAST Directed
by Mark Travis "TERRIFIC
PERFORMANCES, MOST NOTABLY BRIDGET HANLEY AS A REFRESHINGLY
MATTER-OF-FACT ELEANOR OF AQUITAINE. JIM BEAVER IS A VIRILE
AND STRAIGHTFORWARD HENRY. ADAM CONGER'S JOHN IS AN ACUTELY
REALIZED WEASEL FERRETING FOR POWER, IN STARK CONTRAST TO
YANCEY DUNHAM'S ROBUST RICHARD. FORMIDABLY ACTED." "A
PIECE OF THEATRE THAT IS REALLY QUITE EXTRAORDINARY. UNFORGETTABLE.
THE PERFORMANCES ARE ASTOUNDING." "A
SKILLED CAST AND A VISIONARY DIRECTOR" "A
POWERFULLY EXCITING AND RIVETING THEATRICAL EXPERIENCE,
RICH WITH MASTERFUL PERFORMERS" "SHOT
THROUGH WITH SAVAGE WIT, THE RESULT IS A RESOUNDINGLY POWERFUL
PRODUCTION THAT SHOULD NOT BE MISSED. HIGHLY RECOMMENDED." "THE
BOTTOM LINE IS THAT JAMES GOLDMAN'S THE LION IN WINTER IS
AN IMPRESSIVE PRESENTATION THAT EXPLORES THE CONCEPTS OF
GREED, POWER AND TREASON, WITH EXCELLENT ACTING AND ABLE
DIRECTION BY MARK TRAVIS" Produced
by special arrangement with Samuel French, Inc. Press Contact: Judith Borne (310) 305-7888
The Lion In Winter. Set Design by Jeff Rack. Lighting Design by Steve Hallada.
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Directed by Mark Travis Jan
27 - Apr 1, 2006
Scenes
from Lion In Winter
Audience
Praise
Jim
Beaver and Bridget Hanley in The Lion In Winter
Yancey
Dunham, Matt Ritchey and Adam Conger. Costume Designer: Beth Morgan.
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Review It's been 40 years since James Goldman's play premiered in New York. Goldman's acerbic, high-minded witticisms combine the elegance of the Renaissance and the cynicism of the 20th century to create a modern classic. A favorite with community and regional theatres nationwide, it takes a skilled cast and a visionary director to grab an audience, which is exactly what this production offers. Director Mark Travis, taking the title literally, has created an animalistic Lion in Winter, using as his inspiration the plays lines: "We're jungle creatures, and the dark is all around us. In the corner you can see their eyes. And they can see ours." Assisted by remarkable sound and set designs, a live musician, and a choreographer, Goldman's version adds raw, violent energy to the stinging comedy. The cast...is mixed, though greatly bolstered by two excellent leads: Jim Beaver and Bridget Hanley. Beaver portrays England's 12th century rule King Henry II, who in this blending of history and legend attempts to secure his legacy by naming his weak-willed son John (Adam Conger) to succeed him. Henry's wife, Eleanor (Hanley) -- whom Henry has kept imprisoned for years -- wants the throne for her strong warrior son Richard (Yancey Dunham). The third and wisest son, Geoffrey (Matt Ritchey), backs John, assuming he will control John. Young King Phillip of France (Jason Galloway) arrives for Christmas festivities to see that his sister Alais (Kendra Cover) is married to the successor, which Henry II doesn't want because Alais is his lover. Everyone is out for him -- or herself, willing to lie or backstab to gain power. Goldman's torrent of clever lines -- when delivered with panache -- still elicit laughs. With a childlike demeanor that turns instantly to rage, Beaver has created a Henry that is equally lovable and dangerous. Hanley provides a perfect foil as Eleanor. She gives an air of vulnerability to the queen that makes it plausible for her children and husband to nearly fall for her ploys. Travis has fashioned an animal motif by dressing his cast in furs and skins, having them stalking, crouching and eventually pouncing on their respective prey. Jeff G. Rack's jagged rock set design resembles a lion's lair. Musician Marta Collier, setting a tribal beat with her drum, blends with Christopher Burns' jungle sounds to complete Travis' vision successfully. This is a Lion in Winter that feels invigorated and powerful, worthy of Goldman's words. Review As part of their Chestnuts (Revivals of Great Plays) Collection, Theatre West is presenting the second in the series, James Goldman's The Lion in Winter (the first being Rod Serling's Requiem for a Heavyweight last October.) I always wonder if a revival will have a fresh coat of paint, thus enchancing even further my artistic appreciation of the work. True, Goldman's script is verbally brilliant, and that in itself makes another viewing worthwhile, but, not unlike Henry and Eleanor, our intellectual curiosity craves more. Well, director Mark Travis and his renowned band of players are creating a piece of theatre that is really quite extraordinary, perhaps one of the finest productions I have seen at Theatre West. If you remember the wonderful 1968 film with Peter O'Toole, Katharine Hepburn and Anthony Hopkins, put it out of your mind. Its serious tone can in no way compare to the original play in which the comedy reigns as supreme as the King and Queen themselves. We look at these creatures, these barbarians and laugh at their flaws, perhaps a bit nervously at first -- maybe, just maybe because we see our own actions and motivations. From 1183 to 2006, the human need for love, power and recognition has not changed. Their greed is our greed; their struggle to survive is ours as well. What else can we do but laugh in its face and move along as best we can? Their behavior toward one another was hardly exemplary. Well, just how omnipresent is our sense of compassion? With the haunting drumbeats of percussionist Marta Collier and the movement of all the characters stalking each other like preying animals stilled after each scene, Mark Travis adds a primordial audio-visual touch to Goldman's work that is truly unforgettable, as are Jeff Rack's set and Steve Hallada's lighting design. The performances are astounding: Jim Beaver as Henry II, Bridget Hanley (not one false move) as Eleanor, Adam Conger (pathetically hilarious) as John, Yancey Dunham as Richard, Matt Ritchey as Geoffrey, Jason Galloway as Phillip and Kendra Cover as Alais.
And You Thought Your Family's Christmas Was Bad? Cave men, kings, Kennedys or Corleones -- the names may change but the game is the same, and the stakes are brutally high. In James Goldman's classic The Lion in Winter, directed by Mark Travis at Theatre West, power -- and more importantly, love -- are the scraps of meat King Henry's family have come to fight for over Christmas, 1138 A.D. And fight they do, with fang and claw and every ounce of guile in their considerable arsenals. Shot through with savage wit, the result is a resoundingly powerful production that should not be missed. King of England for over 30 years, Henry (Jim Beaver) has grown weary and looks to name his successor among his three surviving sons. His boys (Yancey Dunham, Matt Ritchey, and Adam Conger) each have knives hidden for their father and each other in their aspirations to power, and the only think missing is a score card to keep track of the myriad of treacheries, deceits, and shifting alliances between the players. Henry's arch nemesis in this death match, though, is his banished wife, Eleanor of Aquitaine, imprisoned for 10 years after her husband's affections turned elsewhere. Performances are generally top notch, but towering above all is Bridget Hanley's Eleanor. She is magnificent as the cunning, ruthless and lonely old woman cast aside by by the only man she's ever loved. And this is, after all the claws have been sheathed, at its core a tremendous love story. Facing their mortality, unsure of their places in history, Eleanor and her Henry finally have only each other, no matter who or what may have come between them. Highly recommended. Review Bravo! This is a powerfully exciting and riveting theatrical experience, rich with masterful performers playing deliciously despicable characters and boasting topnotch production efforts all round. Undeniably, some stuffy history buffs may take issue with this primarily avant-garde revival concept adding some campy spice to the original script. I, not being historically savvy, was enthralled throughout! In fact, I'd never even seen the film starring Katharine Hepburn and Peter O'Toole that garnered an Oscar for Screenplay Adpatation by its writer, James Goldman. Presented by Chestnut Productions and Charlie Mount as part of a series of great plays, the first one, "Requiem for a Heavyweight", starring Michael Harrity, was well accepted. Mark Travis, touted by the LA TImes as a creator of a new theatre genre, boldly directs a fine cast here, inspiring crisply caustic, razor sharp, well timed comedic portrayals. The always spellbinding Bridget Hanley (from Here Come The Brides and Harper Valley PTA) and Jim Beaver (Ellsworth on HBO'S Deadwood) explode eloquently in the lead roles. Skilled consummate actors, they play off of each other with brittle and biting brilliance! Remembered historically for their love/hate relationship (circa 1138 A.D.), having once spawned three greedy and ungrateful sons, Henry and Eleanor's battle for power and independence is legendary. As Henry's longtime obsession and young mistress Alais, Kendra Cover gives a hauntingly focused performance, and Jason Galloway as her brother, Phillip, is also commendable. Animated, treacherous, fun filled sibling rivalry is offered by the three cutthroat and conniving sons competing for their father's throne as king. They are: Adam Conger, Matt Ritchey and Yancey Dunham. Nice touches: primitive jungle-like onstage percussion work by musician Marta Collier, Jeff Rack's eerie and sweeping set, and Beth Morgan's elaborate period costumes. Quoting here: "Treachery, lechery, and traitorous behavior. What family doesn't have its ups and downs?" This is an entertaining and epic production. Witty and worldly -- do see it! Review Couched
in a theme of family betrayal and intrigue, seven greedy and ambitious
royal characters cheat and connive for personal gain and political power
in this grand presentation that’s set in the South of France at
King Henry's Chinon Castle during the twenty-four-hour Christmas court
held in 1183. After years on the throne, the main character, Henry (Jim
Beaver), is beginning to think about his own mortality feeling its time
to name a successor. Henry favors his youngest son John (Adam Conger),
a wimpy, pimple-faced brat who abuses his father's affection but queen
Eleanor (Bridget Hanley) favors her oldest son, Richard (Lionheart –
played by Yancey Dunham), but because she took part in civil wars against
Henry, he has kept her imprisoned under "house arrest" in a
tower in Salisbury, England, for the last ten years. Now Henry has a young
mistress, Alais, the sister of the King of France, (Kendra Cover) but
he wants her to marry John to keep England's holding in that country.
Henry tells her that they will be able to remain lovers even if she does
marry John, but she feels betrayed and refuses.
Eleanor is allowed to leave her tower on special occasions and when she discovers that Henry wants to name John to be the king, she schemes to have Richard named and even promises to yield her own territory, the Aquitaine, to Henry, if Richard is the heir. In their squabbling about Richard and John, their middle son, Geoffrey (Matt Ritchey), feels that he has been neglected, and he begins to undermine both of their plans. When the final major character of the story, King Phillip II of France (Jason Galloway), Alais' brother, comes to the Christmas Court after the others have arrived he also begins his own plot to rid France of any English holdings, and to achieve this, he tries to enlist John and Geoffrey and we later learn of a physical liaison with Richard the summer before. Alais is just a pawn in the power game, more for her position, and not for herself. With such elaborate premises, the actors have a perfect venue to shine, and shine they do. Who can you get to follow Katharine Hepburn’s Oscar winning Eleanor in “The Lion” film of 1968? The answer is simple. Bridget Hanley, who almost walks off with the show in a wonderfully fleshed out performance as her Eleanor is torn between her feelings for her sons, whom she later admits to not liking very much, the humiliation of being imprisoned and seeing her husband flaunt his lover, a girl that she almost raised from childhood. Jim Beaver gives Henry II a glint of comic flair mixed with a strong sense of power brokerage. Kendra Cover is excellent as the powerless Alais and Adam Conger makes a wonderfully spoiled prince John. Yancey Dunham keeps a somber face throughout the action as the moody Richard, as Matt Ritchey’s Geoffrey spends a lot of time crouched behind props while smoldering with rage. Jason Galloway’s King Phillip of France makes a strong impression with his brief lines. These grand schemes revolve in an impressive setting of tilted columns and with an angularly distorted throne designed by Jeff Rack. Surrounded by muted colors and shadowy lighting design by Steve Hallada, the effect is a convincing lair of intrigue and seduction. While one often hears that sound effects and music should be so much a part of the story that they are imperceptible, you certainly can’t say that about Christopher Burns’ sound designs. The background bristles with stark percussive, staccato drumming between scenes, sounds of fighting cats, lion roars and other quasi-identifiable sounds. Punctuating the action, Kolja Erdman’s ominous choral renderings and musical themes round the story. Beth Morgan’s costumes are amazingly detailed and visual. The bottom line is that James Goldman’s The Lion In Winter is an impressive presentation that explores the concepts of greed, power and treason, with excellent acting and able direction by Mark Travis. Chestnuts, a company that espouses “Revivals of Great Plays” in collaboration with Theatre West will present this show until April 1, 2006. Audience
Comments WHAT an amazing production. I really enjoyed the risks that the director, Mark Travis, bravely embraced. The play is well known, but what ALL of the actors bring to their repective roles under his direction, is truly wonderful to watch. From top to bottom, I was not only entertained, but moved through an enjoyable evening. Every part, big to small was well acted, the directing, set design, sound and lighting all superb! ~ Mary, LA, CA ABOUT 20 years ago, I saw a play a Theatre West called "Verdigris." It was directed by the same Mark Travis who has directed this new production of "Lion in Winter." (Coincidentally, it was written by the same Jim Beaver who stars in this new production.) At that time, I thought I had never seen a finer example of small-theater production in Los Angeles. Since then, I have seen as many of Mr. Travis's productions as I have been able to. And I think now that his new production of James Goldman's "Lion in Winter" is the crowning achievement of his career. It seems like every theatergoer has seen "Lion," or at least the movie. It's a warhorse, a wonderful one, but a warhorse. And it's almost always done the same way, with costumes and sets and music interchangeable with "Sleeping Beauty" or "Camelot." But Mr. Travis has reimagined the play, not as a historically based comedy with tragic overtones, but as a family tragedy with comic overtones. Don't get me wrong, it's a wildly funny night at the theatre. But instead of focusing on kings and crowns and thrones, he's forced us to see the people whose family is being torn apart by those things. It's a comedic "Long Day's Journey Into Night" or "All My Sons." And instead of a real castle, we see the characters placed in an elemental and primitive place that truly befits their emotional chaos. Lights, sets, music, and sound are simply stunning, and the costumes are the most evocative I've ever seen for this play (or most plays, for that matter). ~ Walt, Torrance, CA DO
NOT miss this terrific piece of theater. Emotionally riveting, deeply
intelligent, physically and visually thrilling and... funny!. What more
coiuld you ask? The night I saw it, the audience gave a standing ovation
--completely deserved. The cast is powerful and talented and the production
– from sound, to costumes to total concept and vision - is a work
of professional and passionate art. ~ Sam, Santa Monica THIS production is exquisite... the acting is mesmerizing, the staging is stylistically superb. Making the most of intricately woven dialogue peppered with cheek and cynicism, this clever director has created an animalistic journey of manipulation and deceit. The cast shines. A must-see. ~ Kelly, Santa Monica , CA ABOUT "THE LION IN WINTER"
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