O.C. STAGE REVIEW : A ‘Lion in Winter’ With All the Roar

Whether there really was a royal imbroglio on Christmas Eve in 1183 over succession to the throne of England, there is no question that the storefront Alternative Repertory Theatre has done surprising justice to the monumental family squabble of “The Lion in Winter.”

Part history, part comedy and all soap opera, James Goldman’s play about a night at Chinon castle--where Henry II, the first Plantagenet king, is holding court--gets the histrionic treatment it deserves from a respectable amateur cast, give or take a few weaknesses, and a rough-hewn medieval setting suggested by the look of fur-draped leather and burlap.

Ever since its original 1966 Broadway production (with Robert Preston as Henry, the raging lion in his lair, and Rosemary Harris as Eleanor of Aquitaine, the castoff queen who would like to skin him alive), “Lion” has been a vehicle for virtuoso performances, if not always for critical esteem. Harris’ acting is said to have been so spectacular, for example, that the audience broke into spontaneous applause one night and stopped the show.

But it was the 1968 screen version with Peter O’Toole and Katharine Hepburn that ultimately spread the gospel of this play. They turned it into one of Hollywood’s all-time scenery-chewing contests, which not only made it popular as a road test for breast-beating players everywhere but also stamped it with an arch sentimentality that challenges anyone to stage it otherwise.

The ART production does not always avoid such theatrical affectation; it is persuasively entertaining just the same. In fact, “Lion in Winter” represents a significant advance for this small theater company inasmuch as it has been able to field two very capable leads--Jeff R. W. Stevens as Henry and Barbara Sorenson as Eleanor--as well as supporting players who manage to fill out sizable roles with performances that work to advantage, even when they are not always creditable.

Also, for the first time in this reviewer’s memory, an ART production has been able to convey a feeling of relative spaciousness by sacrificing a few seats in the tiny house and wisely going to a three-quarter round presentation. The players do not give the impression of being cramped, with the result that artistic director Patricia L. Terry’s staging has a certain amplitude and room to breathe.

There are moments when Sorenson’s well-spoken portrayal of Eleanor evokes eerie echoes of Hepburn in phrasing and diction. But on the whole, Sorenson makes the role her own with a sweetly textured irony that remains her buoyant keynote throughout. Stevens, who gives a more earnest and variable performance, succeeds by avoiding comparison with O’Toole. He generally matches Sorenson’s elevated diction and witty ripostes with tony polish, although he makes one entrance with a peculiar “Hi ya!”

“Lion in Winter” revolves around shifting alliances in a scramble for Henry’s crown and the large domains he acquired through war and marriage since becoming king 30 years before. The 51-year-old Henry, mindful of his age, wants to ensure the continuation of the Plantagenet monarchy by passing his kingdom on to John, the youngest of his and Eleanor’s three living sons.

But neither Eleanor, who is kept prisoner by Henry because of her disloyalty (she already has led revolts against him), nor either of their two other sons, Richard and Geoffrey, likes Henry’s idea of succession. Richard, a stout but dull warrior with a kinky sexual history, contemptuously regards John as “an adolescent pustule” and considers himself the rightful heir because he is the eldest and strongest. Geoffrey, the clever diplomat who as the middle brother feels slighted by all sides, alternately schemes to be John’s chancellor or Richard’s, depending on who seems more likely to win the struggle.

Eleanor, who has been let out of prison to celebrate Christmas so as to show the court a measure of family solidarity, still loves Henry but would do anything to gall him. She favors Richard. In the meantime, Henry’s mistress Alais, who was reared from childhood by Eleanor, is virtually everybody’s political pawn. And Alais’ brother, Philip II, the teen-age King of France who has been invited to Chinon, plots war against Henry with all three brothers to enforce Henry’s past promises to have Richard marry Alais in exchange for domains Henry received from Philip’s father.

And that’s only the beginning.

Andrew Singleton is somewhat awkward as Richard, but his lack of polish actually fits the character; Ted Escobar’s staginess works for Geoffrey in spite of itself. Glenn Meek is less successful as John, but he eventually gains our sympathy for having to play such a sloppy ingrate. Anne James carries off the role of Alais, the play’s most underwritten character, without trying for ingenue charm, which is all to the good. And Keith Wolfe is sufficiently insolent as Philip.

‘THE LION IN WINTER’

An Alternative Repertory Theatre production of the James Goldman play. Directed by Patricia L. Terry. Assistant director Irene C. Turner. Producer Kathleen A. Bryson. With Jeff R. W. Stevens, Barbara Sorenson, Andrew Singleton, Ted Escobar, Glenn Meek, Anne James and Keith Wolfe. Scenic and lighting design by David Palmer. Costume design by Karen J. Weller. Sound and makeup design by Gary Christensen. Through March 16 at ART, 1636 S. Grand Ave., Santa Ana. Performances Thursdays through Saturdays at 8 p.m.; Sundays at 7 p.m. Tickets: $10 to $12.50. Information: (714) 836-7929.