The play's the thing in the IPAL production of James Goldman's The Lion in Winter, and even if it fails to generate heat, it still makes a convincing case for the show's enduring popularity. Goldman's play imagines a Christmas face-off in 1183 between King Henry II and his wife, Eleanor of Aquitaine, over the fate of Henry's kingdom. The play chronicles the Machiavellian machinations of Henry's sons in their hope to be chosen King and the fireworks that continue to spark between the feuding monarchs. There's considerable conspiracy afoot in Henry's castle, and the play relishes every twist and turn of shifting allegiances. There's also a ton of witty dialogue, some very funny barbs (mostly delivered by the witheringly sharp Eleanor) and a richness of language that makes the play a delight to hear.
It's no surprise that this show continues to be produced at community theaters across the country. It's a sturdy thing -- so sturdy, it's the kind of show that works in spite of itself. You could have performing seals play this show, and it would still work.
But a show that works isn't quite the same as a show that sings. And that's the main problem with IPAL's production of Lion -- it doesn't sing. There's a lot of talent on stage in this show (especially in the appealing lead performers Vince Barras and Carmen Nicholson), but the onstage talent often feels out of sync with the play they're performing, and it adds up to a serviceable production that doesn't quite convince and undercuts the gifts of its leads.
I've always enjoyed the performances of Barras and Nicholson when I've seen them in other shows (They were both delightfully great in Evangeline Players' Our Town a few years back). They're confident and assured actors, and throughout their scenes in Lion, those gifts are evident. Barras is a compelling stage presence, and his performance as Henry is nothing if not thoughtful and committed. Nicholson also throws herself into the role of Eleanor, and she delivers in the role's fiery moments as well as landing some lovely tender moments.
They're both impressive actors, but in Lion, their power is muted in roles that don't fit comfortably on their talents. Barras' presence is far too urbane and refined as Henry, and Nicholson's presence is too warm against the iciness that's built into the character. They're not bad -- Barras and Nicholson never deliver bad performances --but
their natural presences don't fit these roles comfortably, and it makes the show less successful than it could be.
It's really tough to write about actors you admire and say you didn't see them at their best. But I've been in shows where I've been shoehorned into a role I wasn't really suited for for, and no matter how hard I worked, it just didn't gel. The alchemy between actor and role has to be just right for something exciting to happen, and I've seen that alchemy in action with both of these fine performers. It just didn't happen in this show. And that's unfortunate. I love their work, and I look forward to seeing them in whatever they tackle next. They are, of course, not the only actors in the show. Kristen Hebert's Alais is a little swallowed up by the strong performers around her, but she does some nice work. Elliot Leitner is appropriately smarmy as Phillip. And Jonathan Parich is a very understated Geoffrey (sometimes too understated -- his performance sometimes fades into the background when it should stand front and center).
Travis Guillory is an explosion of energy as John, and he's clearly got a ton of talent. Unfortunately, the performance goes a little too far, turning John into more of a caricature than a person. With a little more restraint, Guillory will be a dazzling actor.
As Richard, Thomas Owens gives a surprisingly confident performance that was the show's most organically convincing. He handled the difficult task with aplomb (And trust me, I know how hard that role is. I was seriously miscast as Richard in a production of Lion.). It's a tough role, and Owens handled it well. I'm eager to see Owens in something new.
It'd be easy to say, "It's just community theatre, don't be such a demanding jerk!" to a review like this. But that attitude would be a disservice to the very talented men and women who commit their time to local productions. There's something in the water here, I guess, because there's a weird abundance of really talented people in Acadiana, and that talent should be polished and showcased at every turn. That's why I wanted more from this Lion: the two gems at the heart of this production were obscured by the wrong vehicle.
I still enjoyed them. And I still enjoyed Goldman's play. The show --and the gifts of this cast -- endured.
---Cody Daigle
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