Two titans face off: Lucas Hatton as Cesare Borgia, right and below, and Benjamin Stowe as Niccolo Machiavelli in “The Lion and the Fox,” at the Berkeley City Club through March 30. Jim Norrena photos

A FEW YEARS AGO, CENTRAL WORKS OF BERKELEY wowed audiences with an original play, “Machiavelli: The Prince,” about how the infamous strategist influenced the pious duke, Lorenzo de Medici II of Italy, convincing him to embrace a severe political philosophy.

Now, “Prince” playwright Gary Graves has created a prequel to the saga, “The Lion and the Fox,” on stage through March 30 at the Berkeley City Club. Jan Zvaifler directs this story of Machiavelli’s own, earlier influence by another duke, Cesare Borgia, otherwise known as the Borgia Bull — “one of the most notorious villains in history,” Graves says.

Lucas Hatton strikes a powerful figure as Borgia, exuding toughness garbed head-to-toe in stark black leather. By contrast, Machiavelli (Benjamin Stowe) appears oddly humble, dressed in a soft beige cape, a pair of unassuming buckle shoes accenting a conservative 16th-century tunic ensemble. Machiavelli’s style of dress is disarming, but it belies a determined and clever spirit, allowing the diplomat some tangible bargaining power with the boisterous tyrant.

The audience is transported from city to city, from palace halls to council chambers and even into battle scenes, by way of directed lighting and strategically placed sound effects, and the two actors both succeed in altering their mood, stature and countenance sufficiently to fill out the illusion. It is impressive how rich a setting the troupe is able to create in the small, single-level performance space with only the room’s two hall doors on one side wall to serve as both entry and exit.

Already in the opening scene, where the two leaders meet for the first time, Borgia begins to erode Machiavelli’s confidence by mocking Florence’s unreliable political system. At first, Machiavelli stands firm in his gentle, diplomatic way, but as talks progress in subsequent meetings, we see him allow further and further concessions until it seems that almost without realizing it he has begun to assume a submissive posture in negotiations.

Dialogue is the meat and bones of this intellectually rich play. Artful phrasing and snappy verbal sparring keep the story alive and captivating. Extended conversation between the two players may bog things down a bit at some points, but quick scene changes keep things moving forward, so those moments that do allow room for pondering are relatively short-lived.

Individual audience members will certainly view the production from different perspectives, depending on where their greater interests lie. Religion, history, politics and power are all thoughtfully explored. The acting is so intense and professional and the changing scenes so illustriously described that viewers will find themselves drawn in regardless of their level of understanding of the historical framework.

The heart of the story lies in the development of these two powerful characters. Things are not what they seem, and it is interesting to watch how their motives and inner personalities come to the surface as they get to know each other on personal and political levels.

Some historical background is provided on the Central Works website under the play’s “Extras” tab. But you don’t have to be a history buff to enjoy “The Lion and the Fox.” Outstanding acting and clever and effective special effects make it easy to enjoy. The characters are intriguing, to say the least, and the story’s themes are universal.

If you’re excited by quality theater and you enjoy seeing new works, I highly recommend you take the opportunity to see this Central Works production before it closes. This one is something to talk about.

If You Go
“The Lion and the Fox” is showing through March 30 at the Berkeley City Club, 2315 Durant Ave., Berkeley. Tickets are $28 online at centralworks.org or $15-$28 sliding scale at the door. Previews and Thursdays are pay-what-you-can at the door. For more information or reservations call 510-558-1381.

Elizabeth Warnimont is a freelance writer specializing in the performing arts. She is also a substitute teacher for the Benicia Unified School District.

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