‘The Ashes of Aquitaine’ @ Lakeside Community Theatre
—Carol M. Rice
The Ashes of Aquitaine is, putting it simply, the result of an actress falling in love with the character she's playing (one based on a real person) and wanting to do a deep dive into the rest of her story.
Ashes co-author Leigh Wyatt Moore played Queen Eleanor in The Lion in Winter in 2017 at Allen Contemporary Theatre. After the run, she asked playwright Rusty Harding to help her continue Eleanor’s story. It’s a world premiere for Lakeside Community Theatre, which is to be commended for taking on this challenging new work. Much like its prequel Lion in Winter, The Ashes of Aquitaine is a tense historical drama reminding us that dysfunctional families are not new.
While no time period is mentioned in the program, The Lion in Winter takes place in 1183, and The Ashes of Aquitaine just a few years later. King Henry II has taken ill and is not expected to live much longer. He sends for his estranged wife Eleanor—who by now has been imprisoned (by Henry's order) for 16 years—and for their sons Richard and John, still feuding over who should be king. Henry has decided that the two should rule together, splitting the kingdom between them.
All Eleanor wants is her freedom. Needless to say, not all goes to plan.
Robert San Juan brings King Henry II alive with everything he can muster, from bombastic royal rants to touching gentleness. His disturbingly realistic pain is hard to watch in scenes, and the tears in his eyes at the end of the play are real. San Juan is always mesmerizing onstage, and this performance is no exception.
Leigh Wyatt Moore (as mentioned, the co-author of the play) plumbs new depths in her second stint as Eleanor of Aquitaine. She is a strong woman in a time when women weren’t usually expected or allowed to be strong, and Moore’s seasoned performance brings the character to glittering life. Her Eleanor is clever, angry, loving, sad. The role requires a roller coaster of emotions, and Moore delivers to the very end.
As Prince John, Jayden Mathews is the character you love to hate. John is a selfish drunkard, a royal who enjoys using women for pleasure—and fun to watch simply because you know he’ll eventually get his well-deserved comeuppance. Mathews’ excellent stage presence and physicality work really well for this role. He plays a great brat.
Henry’s confessor and right-hand man Father Alban is portrayed with quiet dignity by Anthony Magee. Alban is the glue, trying desperately to hold this family together, and Magee makes it look effortless.
As Eleanor’s sister Petra, Kathleen Vaught brings a fun mischievousness to the castle. While she, like Henry, is also dying, Vaught doesn’t let that overshadow her character’s wit. She and Moore have great chemistry as sisters.
Hannah Burns plays Henry’s mistress Alais with charm and sweetness, yet she isn’t afraid to get tough when the situation calls for it. Her loving devotion to Henry is believable and kind, while her aversion to Prince John is palpable. Even more interesting is her developing relationship with William Talvas, the knight whose duty it is to protect her.
Talvas is played with over-eager devotion by Logan Gaconnier, and it’s lovely to watch Burns gradually go from frustration at his attentions to admiration and warmth for the man he is. Gaconnier's role calls for a lot of reacting in the background of scenes; he creates great facial expressions without stealing focus.
Prince Richard enters somewhat late in the game but he’s worth the wait. Played by Stephen Hyatt, Richard is a strong contrast to the weak Prince John. He's not only the big brother and loving son, but also a back-stabbing double crosser. Hyatt balances both personas very well.
Karina Barrett plays the innocent young servant Kat, who's trying to fend off the lecherous advances of Prince John; she makes us truly feel her fear for her virginity. Kat cleans up when King Henry is sick, and generally keeps the household running smoothly. She does so almost invisibly, yet her calming presence has an impact.
Director Robyn Mead has done a masterful job with this premiere at LCT. She’s cast the show expertly, and her actors deliver in spades. The simple set (built by Bill Wash and painted by Kasey Bush) is functional and attractive, aided by Melinda Cotton’s effective lighting design. The stunning period costumes by Kristin Moore are vivid and character-enhancing—definitely some of the most gorgeous costumes I’ve seen on stage this year, with rich fabrics, faux fur, and great attention to detail.
New works can be a hard sell; audiences are often afraid to take chances, and tend to gravitate to the familiar. Thank goodness for brave companies such as Lakeside Community Theatre! The Ashes of Aquitaine is a powerful drama that rivals the work from which it is derived. It has just enough humor to keep the audience on their toes, and we care about the characters. Plus we can look at this royally dysfunctional family—and be glad ours isn’t as bad. It's a great show, and well worth the drive to The Colony.
Go support new theatre!
WHEN: December 6-21, 2024
WHERE: 6303 Main Street, The Colony
WEB: lctthecolony.com
