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A family reunion with claws

by Rachel Metz

H istoric figures in British royalty are resurrected just in time to put up Christmas wreaths and drink mulled wine by the fireplace in "The Lion in Winter," the Palo Alto Players' take on James Goldman's 1966 Broadway production. Directed by Kit Wilder ("Scapino!"), the play pits a family of ruthless, mind-bogglingly deceitful characters against each other in a witty yet sometimes cliched take on a period of English history.

At its center is Eleanor of Aquitaine (Diane Tasca), who is out of prison for the holiday after spending much of the past 10 years imprisoned by King Henry II (Mark D. Messersmith) for her attempt to take over the kingdom and rule England with oldest son Richard (Edward Graham).

While she spends much of her free time manipulating her family members to her benefit, Henry grapples with the need to pick an heir for his throne. Concurrently, French princess Alais Capet (Shannon Stowe) -- Henry's mistress and Richard's fiancÈe -- is tugging at Henry's heartstrings and squabbling with Eleanor, while Alais' brother Philip (Zach Gossett), King of France, presents a constant political threat.

Near the start of the play Henry says to Alais, "Let's leave one strand askew -- nothing in life has any business being perfect." Clearly, Wilder took this advice seriously. His cast holds down the fort as a family unit, but the pace of the work often moves like you'd expect a lion in winter would, and at times it's hampered by hearty doses of chuckles and duplicity.

While youngest son John (Brian Markley) hits viewers' funny bones throughout the production with his whiny jabs at brothers and parents, the same cannot be said for Eleanor and Henry's streams of sarcasm, which at times fall flat. Fighting is the main activity here, and it runs tedious, especially when Alais is alternately hugging and seething at Eleanor, treating her like a mother and an enemy.

Fortunately, Tasca's snappy take on Eleanor and Messersmith's bear-huggable portrayal of Henry keep the brood together as any good parents would.

Not that they claim to be first-rate parents. Eleanor's sequestration results in clever scenes of wavering affection, as she tries to draw her estranged children closer to her but encounters convincing resistance. She hugs her sons and they squeamishly push her away, not sure what to make of her sudden mothering after years of absence. It is often unclear if Eleanor is simply using her boys for her own political gains or if she truly wants to be a better mother. Tasca manages to make Eleanor a sympathetic character, showing the necessity behind her attempts to crown Richard.

With their mother's mix of back rubbing and backstabbing and their father's insecurities over picking an heir, sons Richard, Geoffrey (Earle Carlson) and John have their work cut out for them as love- and power-hungry young men.

As the youngest and favored son John, Markley is charmingly wimpy and whiny, bumbling next to Carlson's Geoffrey, whose bitterness at never being the pick of the litter boils over several times in "The Lion in Winter." Graham's turn at Richard complements his on-stage brothers well, and calculated scheming and petty name-calling between the three cement their connections. The chemistry between them works, even if their biting and fighting gets a bit old.

"The Lion in Winter" is peppered with slightly cheesy references to acting and trite formulaic lines, but manages to include some of the confusion and helplessness Henry slogs through while confronting old age and the inevitability of death.

Reminiscent of King Leontes' emotional ups and downs in Shakespeare's "The Winter's Tale," Messersmith shows both a youthful vigor and elderly resignation in his portrayal of Henry. When Henry tells Alais he loves her and tenderly kisses her, he exudes passion and care, but as a family man he is gloomy and subdued. Messersmith seems to want Henry to come across as a triple threat -- powerful father figure, lusty philanderer and insecure Joe -- and he hits the mark.

Though succession decisions are tough and perhaps rare for the average family, Henry's family's dynamic is relatable and believable. Like any other clan they foster love-hate relationships that constantly spark and are fanned by interaction and close quarters. Any family reunion is tough but rewarding -- this one included if you can get past the claws.


What: "The Lion in Winter," presented by the Palo Alto Players

Where: Lucie Stern Theater, 1305 Middlefield Road in Palo Alto

When: Through Feb. 2. Show times are 8 p.m. Wednesday through Saturday, 2:30 p.m. on Feb. 2.

Cost: Tickets are $21 for Wednesday, Thursday and Sunday performances; $25 for Friday and Saturday evenings. Students and seniors receive a discount for Wednesday, Thursday and Sunday performances. For tickets call (650) 329-0891.

Info: Visit www.paplayers.org.