If The Lehman Trilogy was a ship and words were its cargo – long passages of descriptive narration dense with facts, figures and financial jargon – then it would be in danger of sinking faster than the Titanic.
But with director Sam Mendes at the wheel it is nothing short of a theatrical triumph well worthy of its five Olivier nominations and the multiple standing ovations received by its stellar cast comprising Simon Russell Beale, Ben Miles and Adam Godley as the respective head, arm and “just-peeled potato” of the Bavarian-born Lehman Brothers. The latter of whom merited a showstopping round of applause for his brilliant characterisation of a decrepit centenarian corkscrewing into his grave while doing the Twist.
Chronicling the rise and fall of what was to become the fourth largest investment bank in the United States, which began life as a humble purveyor of fabric and suits to the “live to work” poor of Alabama, the premise of Stefano Massini’s epic play, adapted into English and abridged from five hours down to three-and-a-half with an exquisite lightness of touch by Ben Power, can best be described by the following poetic reflection: “What happens when the seeded field goes up in flames?”
In short, bankruptcy – financial and moral – brought about by an unregulated system of turbo-capitalism which rewards risk over responsibility and is driven by a desire for more by those with most. Prompting the question: “Is it enough?”
Part of the play’s success, co-produced by National Theatre and Neal Street Productions, lies in the terrific design by Es Devlin: a rotating glass cube compartmentalised into offices within which storage boxes are re-arranged Lego-like into various formations and upon the panes of which are written buzz words, a string of noughts and the ever-changing company name. The speed and frequency of the revolutions varying to mark the passage of time and shift in dramatic tone.
As does the wonderful score by Nick Powell performed live on piano by Candida Caldicot; exquisite lighting design by Jon Clark which ranges from corporate strip lights to fiery red; and superb video projections against a vast semi-circular backdrop by Luke Halls, most memorably a whirling carousel of skyscrapers constructed of fast-decreasing stocks and shares. The combined effect of which mirroring one immigrant’s first impressions of New York: “a magical music box”.
Simon Russell Beale, Ben Miles and Adam Godley are brilliant throughout, switching voice and physicality with great comic timing, subtlety and ease to portray several generations of the Lehman dynasty (demure WAGs and demonstrative kids included) as well as a host of colourful characters from the world of business such as the Ronseal-inspired Perfect Hands and Round Head. If there was an Olivier Award for Best Ensemble, few if any would rival them.
Similarly, Sam Mendes orchestrates proceedings to perfection: keeping cast and set in a perpetual flow of meaningful motion; synchronising gestures (with the aid of movement director Polly Bennett) to tie up key scenes with a theatrical bow; and creating just the right balance between masterful storytelling and chucklesome comedy. All in all, succeeding where Lehman Brothers fell woefully short in delivering their final advertising slogan: “Where vision gets built”.
- REVIEW: Orphans @ Edinburgh King’s Theatre ⭐⭐⭐⭐ - 13th April 2022
- REVIEW: Everybody’s Talking About Jamie @ Edinburgh Festival Theatre ⭐⭐⭐⭐ - 30th March 2022
- REVIEW: Sheila’s Island @ Edinburgh King’s Theatre - 2nd March 2022