NLT's Rendition of The Lion in Winter Roars!

We've all heard of families that are dysfunctional. And most of us know of at least a few severely dysfunctional families. If you're ready to witness (and laugh at) the foibles of a "royally" dysfunctional family, catch Neuse Little Theatre's production of James Goldman's 1966 play The Lion in Winter, which is playing at "The Hut" (American Legion Hut) in Smithfield through Saturday, Feb. 24th.

Director Matt Gore, costume designer Stephanie Reynolds Veren, and the actors themselves have teamed up to make sure that every actor has the perfect "look" for their 1183 royal-family characters. Additionally, Goldman's script is rife with witty dialogue, and Gore has made sure that every line is delivered with expert timing.

And that's only the beginning: This piece is just plain fun -- start to finish -- and The Hut is the perfect venue in which to "be a part" of an audience "community" (you'll see what I mean).

The Play:

When the curtain rises, it's 1183; and King Henry II of England, Eleanor (his queen), and their adult sons (Richard, Geoffrey, and John) have gathered at Henry's castle to celebrate Christmas. Included in the "festivities" are Alais Capet (who has been a member of Henry's court for about 15 years) and her half-brother, King Phillip II of France (who is on a brief visit).

The play begins with a one-on-one scene between Henry and Alais (which has been staged in a specially lit area in front of the stage). The action then moves -- to the stage -- inside the castle where we meet the royal family in a scene that creates a tableau that visually establishes the characters (and their connections) as they are introduced. The result: in short order, we know: (1) who each one is and (2) what each one wants. More importantly, we discover that all of their agendas conflict and that they definitely do not like each other.

You will notice that almost every character is "at the throat" of almost every other character. The plottings, the back-stabbings, and the subterfuges, along with often acerbic witty dialogue make for an entertaining evening.

Everything boils down to politics and ambition. Eleanor has been imprisoned in the Tower of London for 10 years, but she gets invited to "events" at the castle now-and-then.

Alais (pronounced "Alice") was betrothed to Richard at age eight and has been a resident at the court ever since. She and Henry have been "carrying on" for some time.

Henry is in his fifties and has not designated an heir-to-the-throne. (However, he cites King Lear as an example of the disaster that would result from scenarios of divide-the-kingdom and/or "let them fight it out" as an impetus for him to get busy and choose.) Each of Henry's sons wants to become king, and each is willing to go to great lengths to do so.

Henry and Eleanor are "jousting" for control of both the present and the future, and they really know how to "push each other's buttons."

Vulture-like, Phillip is poised to claim any of the "scraps" that might result.

Merry Christmas!

The Acting:

Casting is superb! Onstage chemistry is impressive! Timing is impeccable, and pacing is just right.

Tony Pender imbues King Henry with the right level authoritarian ruthlessness while, at the same time, endearing the character to the audience. We might not approve of what Henry is doing, but Pender makes sure that we like him and that we accept each new bit of information about him. (Side Note: Pender is sporting a hairstyle that is perfect for this character.)

Her poise, her posture, her movements, her expressions, the delivery of her lines -- these parts make up "the whole" that is not only endearing but also somewhat sympathetic. To Eleanor, life is very much like a game-of-chess, and she is a grand-master. It's fun to watch her as she plans and makes her moves.

Randall Lawrence-Hurt creates a Richard who is haughty, aloof, and sarcastic (when it suits the situation). Tyler Pinkowski's Geofrey is aloof and appropriately stone-faced as he remains "cool and calculating." We are, however, not surprised when his pain and insecurities surface.

Noah Denton shows the impetuous, bratty nature expected from John. Larry Grey has created a Phillip that you will "love to hate."

Abigail Jordan's Alais is the only one that comes across bordering on sweet and (to a degree) innocent. In Jordan's hands, Alais exudes an air of earnestness and (relative) purity that everyone else lacks (and they seem proud to do so).

The Tech:

As both scenic and costume designer, producer Stephanie Veren has created the interior of a medieval English castle and peopled it with properly clad medieval royals. Stage manager Hannah Smith (with an assist from Stephen Roberts) has ensured that set changes are smooth and well rehearsed, and the company's rotate-the-back-wall tactic works as well as ever. And Tamara Baltazar's sound and lighting enhance the look and action nicely.

Nice Touches:

• The candles on the wall.
• The location of the opening scene (and a later one-on-one scene performed in the same spot).
• Eleanor requiring her son to pour "more wine" even though she is closer and has poured her own up to that point.
• The post-show "reception line" that gives audience members the option of greeting and congratulating the cast. (I wonder if they have considered including the director in that line.)

Memorable Lines:

• "I have all the enemies I need."
• "I've given up the looking glass. Quicksilver has no sense of tact."
• "This walking pustule."
• "Did you rehearse this? Or are you improvising?"
• "They threw out the baby and kept the after-birth."
• "You might be blinded by my beauty."
• "I'm vilifying you -- Pay attention!"

From the Department of Picky-Picky:

More than one reference is made to John's pimpled complexion. However, even from the front row, I was unable to spot even one pimple. Makeup?

The Bottom Line:

The drive from my house in Cary to The Hut in Smithfield takes 45 minutes each way, but the entertainment value of this show is well-worth the investment of time. There's one more performance, so: catch it if you can.

James Goldman's THE LION IN WINTER (In Person at 8 p.m. Saturday, Feb. 24th), directed by Matt Gore and starring Tony Pender as English King Henry II, Kathi Hinton-Nixon as Eleanor of Aquitaine, Randall Lawrence-Hurt as Richard the Lionheart, Tyler Pinkowski as Geoffrey, Noah Denton as John, Abigail Jordan as Alais Capet, and Larry Grey as French King Philip II (Neuse Little Theatre at "The Hut" [American Legion Hut] in Smithfield). NLT VIDEOS: https://www.youtube.com/user/NeuseLittleTheatre. PRESENTER: http://www.neuselittletheatre.org/, https://www.facebook.com/NeuseLittleTheatre, https://www.instagram.com/neuselittletheatre/, https://twitter.com/NeuseLittleThtr, and https://www.youtube.com/user/NeuseLittleTheatre. 2023-24 SEASON: https://hometownheritage.com/neuselittletheatre/2023-24brochure.pdf. VENUE: https://www.wral.com/Smithfield/Arts/The-Hut-in-Smithfield/5058210/. THE LION IN WINTER, a.k.a. The Lion in Winter: A Comedy in Two Acts (1966 Broadway Comedy): https://www.concordtheatricals.com/p/2560/the-lion-in-winter, https://www.ibdb.com/broadway-show/the-lion-in-winter-5424, and https://en.wikipedia.org/wiki/The_Lion_in_Winter. THE SCRIPT (excerpts): https://books.google.com/books. STUDY GUIDE (Utah Shakespeare Festival): https://www.bard.org/study-guides/the-lion-in-winter-study-guide/. JAMES GOLDMAN (Chicago, IL-born playwright and screenwriter, nee James Adolf Goldman, 1927-98): https://www.concordtheatricals.com/a/1755/james-goldman, https://www.ibdb.com/broadway-cast-staff/james-goldman-6594, https://www.imdb.com/name/nm0063953/, and https://en.wikipedia.org/wiki/James_Goldman. TICKETS: $15 in advance and $18 at the door. Call 919-934-1873 or e-mail neuselittletheatre@gmail.com to buy tickets. INFORMATION: 919-934-1873 or neuselittletheatre@gmail.com. PLEASE DONATE TO: Neuse Little Theatre.

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