THINK about family dynamics where some members are favoured more than others – it would be so difficult to write a will so as not to favour one sibling over another, for example.
But what if you don’t like some or all of your three sons? What if you and your spouse disagree about who should get what?
That dilemma is bad enough, but if you add royalty into this mix you are leaving not just a home to your kids but kingdoms, armies, titles. That’s the reality in The Lion in Winter.
Set in 1183 in a castle owned by King of England Henry II, the play by James Goldman is a tortuous mix of family issues.
Old grudges come to the surface, sibling rivalry reaches fever pitch. Love, hatred, betrayal and cruelty are intertwined.
The King, played extraordinarily by Nigel Lowe, has incarcerated his scheming wife Queen Eleanor (the dynamic Niamh Mahon) and has graciously freed her for Christmas while still dallying with his young, pretty mistress Alais (Becki Constable) in her presence. Just ‘wow’ to that situation.
Watching the relationships implode/mend/die/revive was exhausting. The audience has to really concentrate on who is genuine or treacherous. Goodness knows how the cast must feel veering from one emotion to another.
Yet despite the characters’ reprehensible behaviour, the darkness, despair and tears, there were moments of laugh out loud comedy in the script, delivered by the cast with savage timing.
A simple set sufficed as various castle rooms with subtle lighting by Phil Shaw adding to the ambiance.
All the cast including Stefan Dufaye, Steve Male, Harry Shepherd and James Williams pulled off a monumental task portraying scheming, spiteful, distrustful, hurt, jealous, damaged characters.
I am always in awe of the variety and challenges of productions which Lichfield Players take on fearlessly. Directed by David Titley, this was another triumph. Congratulations to all involved.