"THE LION IN WINTER" STAGED BY PSYCH DRAMA COMPANY, HOSTED BY THEATRE COMPANY OF SAUGUS (SAUGUS, MA.) - REVIEW

by Kevin T. Baldwin, American Theater Critics Association

While some may feel imprisoned by ongoing inflation, supply shortages and skyrocketing gas prices, Psych Drama Company offers a brief respite from today's grief with an intensely entertaining production of James Goldman's "The Lion in Winter."

While the play wants to fool us into thinking it has a Shakespearean texture, Goldman's dialogue shares a cutting dry wit closer to Noel Coward than the Bard. 

While clearly a drama, there are many humorous moments in this production that also is staged to be "immersive" (whereby the actors seem to repeatedly "break the fourth wall" speaking their lines directly to the audience as if we are on the stage in the scene with them). 

A simply marvelous approach as co-directed by Wendy Lippe and Larry Segel that yields impressive results and a far more atmospheric intimacy with the content of Goldman's material.

As the play opens, it is Christmas, 1183. We are seated around and inside the esteemed castle of blustery King Henry II of England (Brian Dion).

Henry's wife, Eleanor of Aquitaine (Wendy Lippe), arrives from exile as Henry had her imprisoned 10 years earlier.

It is clear their relationship is adversarial from the outset, yet there is an inconsistent, underlying but occasionally endearing quality to both thanks to the balanced performances by Dion and Lippe.

This is a couple that not only loves to hate one another, they literally seem to hate still loving one another, even though Henry seeks a new bride in the extremely young Alais (Caitlin Cremins)...whose expression in the provided photo below seemingly speaks for many of us at the prospect of such a marriage.

Alais is a French Princess who is Philip's half-sister but has been living at Henry’s castle since she was betrothed to Richard at age eight.

Such is the delicate tightrope walk teetering high above the precipices of the two traditional drama masks ("Comedy" vs. "Tragedy") as capably represented throughout Goldman's play.

We also meet Henry’s three competitive sons: Richard Lionheart (Richie DeJesus), the oldest and clearly most ambitious; Geoffrey (Zachary D. McConnell), the conniving albeit overlooked middle son; and John (Michael Mazzone), the immature youngest.

Prodded by Eleanor’s manipulative intervening, a contest ensues between all members of the squabbling royal family and guest of the kingdom, Phillip II, the King of France (Norman Dubois).

The performances of the actors portraying the sibling brothers and the visiting King are all well defined and executed. 

However, it is clearly the on-stage relationship between Henry and Eleanor that is at the heart of the story and it is both Dion and Lippe that deliver the most layered and insightful performances. Dion is especially domineering on stage as the regal Henry.

Throughout Goldman's dialogue, the brothers incessant feuding is fueled by Henry and Eleanor’s mischievous competition. This leaves the audience with not one sympathetic character nor any character to root for, with the possible exception of the naïve Alais. 

Cremins is good in the role of Alais but seemingly lacks that element of naïveté, almost coming across more mischievous than naïve. This may also be a result of her character, again as scripted by Goldman, being limited primarily to react to the behavior of the others in scenes. 

The sheltered Alais, ultimately, is used as nothing more than a pawn by the others, leaving very little for the actress to work with as far as material is concerned.

However, Alais does figure, quite prominently, as an obvious potential threat to the relationship between Henry and Eleanor. 

Not so obvious is the ultimate relationship between Henry and Eleanor, which appears acrimonious at best, pathetic at worst, yet riveting throughout the two and half hour production. 

It is this relationship that keeps one delightfully guessing until the very end if their dangerous liaison and cruel intention toward one another will ultimately fall into either the depths of comedy or tragedy.

Costumes by Amanda Allen, Lippe and Vanessa Phelon were all resplendent and well-conducive to the time period.  

For additional information, please contact, Wendy Lippe Ph.D. at +1 617-275-9167 or by email at pr@psychdramaco.com or psychdramacompany@gmail.com.