Shakespeare's King John is no great play, but, perhaps because it realistically explores power politics and is a partly accurate history, it can be fascinating. And much of this production is what theater is all about. Stratford's executive director Antoni Cimolino, who can probably cast anyone he wants, certainly assembled a stellar cast for this King John. The acting roles aren't nearly as interesting as the historical ones -- the old queen, for instance, is Eleanor of Aquitaine, better treated in The Lion In Winter, but a fabled independent power in about five courts and three countries for almost six decades. John is the evil king in Robin Hood, the historic signer of the Magna Carta. And since neither role is so impressive here, Cimolino wisely casts Martha Henry as Eleanor, and Stephen Ouimette as John -- two actors who can give stature when it isn't in the script.
The scene where King John talks to Hubert of Angiers about killing young Arthur, rival heir to the throne, is spine-tingling as subtly staged and paced by director Cimolino, sinisterly lit by Robert Thomson, and played hauntingly by Ouimette and Tom McCamus, two of the finest talents ever developed at Stratford.
Bernard Hopkins gives weight and clarity to Cardinal Pandulph, who sets the French against John to force John's obedience to the Pope. Peter Donaldson also gives appropriate kingly stature to Philip of France and makes us feel his divided motives. And Jonathan Goad is rising fast as a versatile actor at Stratford; his Bastard son of Richard the Lionhearted almost runs away with the last section of the play.
