“Relevant, gripping, foreboding and ultimately touching.”
“The Lehman Trilogy”, spanning over 150 years, is ostensibly an epic drama; an intricate portrayal of a dynasty following fortune and misfortune. Yet it is so much more. The sum of its parts adds up to one of the most extraordinary theatrical experiences. On paper, it is hard to see why. It is nearly three and a half hours long and it charts, in considerable detail, the rocky road of global capitalism, focusing of course on the Lehman brothers. Much of the narrative is unseen, exposed only through the spoken word. But a lecture it most certainly isn’t. A lesson, yes! Stefano Massini’s three act play (adapted by Ben Power) is a fable, parable, an allegory. It is poetry. A magical music box of stagecraft, where style and emotion meet in perfect harmony. A strikingly evocative human tale. And above all, a masterclass in acting.
It all begins on September 11th, 1844. Henry Lehman (Nigel Lindsay), the son of a Jewish merchant, emigrates to America from Bavaria, settling in Alabama; followed by his two brothers – Emanuel (Michael Balogun) and Mayer (Hadley Fraser) – a few years later. We warm to them immediately as they triumph over adversity. We are lulled into the humanity and gentleness with which they fairly rapidly achieve wealth, forgetting momentarily that what follows is a harsh cross-examination of the American Dream. Initially relying on slavery, the Lehmans soon learn to reap profit from disaster (other peoples’). The portents are planted. Yet the family firm survives for a century and a half, weathering the crash of 1929, but finally being swept under by the financial crisis of 2008.
In three acts, Sam Mendes’ production does not flag for one second. And even in its most blatant moments of exposition we are still gripped. Highly stylised, the narrative comes full circle, framed within Es Devlin’s rotating glass and metal set – softened by the symbolism of towering and cascading cardboard boxes. Luke Halls’ mostly monochrome video projections provide a shifting, panoramic backdrop – at key moments bursting into flames of colour and breath-taking movement. Nick Powell’s music underscores throughout, played live by pianist Yshani Perinpanayagam. A cycle of musical phrases and variations, sublime and subliminal, responding to every moment like a lover’s breath. At times restless, playful; sometimes achingly abandoned. All bookended with the evocative Jewish lullaby, ‘Rozhinkes Mit Mandlen’.
But the essence of the piece shines through the finesse and virtuosity of the trio of actors. Lindsay opens as the pioneering spirit Henry, followed by Balogun’s Emanuel and Fraser’s Mayer. Each of them singularly extraordinary and collectively unforgettable. As the timeline stretches, they switch genders to portray multiple characters, while seamlessly shifting down through the generations, morphing into the brothers’ descendants with astonishing versatility. In true tragedian style, the ending is inevitable and as it approaches the pace becomes more frantic – folding in on itself, racing against itself and racing ahead of itself. The events depicted are complex and ethically dubious. “I didn’t try to win… I decided to win”. A mantra that epitomises the Lehman’s strategies that left nothing to chance. The real winner, however, in this saga is the audience.
“The Lehman Trilogy” is a multi-layered extravaganza. Relevant, gripping, foreboding and ultimately touching. Never has capitalism been dressed up in such an alluring metaphor. We are almost seduced. But we are definitely seduced by the quality of the performances. An unmissable triumph that reminds us of theatre’s raison d’être.
“Her witty modern-day lyrics are reminiscent of the work of Lin-Manuel Miranda”
“All the world’s a stage, and all the men and women merely players”. Those immortal words the Bard penned in his rustic comedy, As You Like It, seem as true as ever in this recent musical adaptation of the play which makes its European debut. Produced by Queen’s Theatre Hornchurch in partnership with the National Theatre’s Public Acts, a national initiative to make inclusive, community theatre, it brings a one hundred-strong cast from all walks of life together to create this vibrant version which is unlike any other production of As You Like It you will have seen.
In a condensed telling of Shakespeare’s tale we find Duke Senior (Rohan Reckord) has been banished from the court by his brother Duke Frederick (Curtis Young), finding solace and a new home within the Forest of Arden, where many of his supporters begin to converge and take commune. In paranoid rage, Duke Frederick lashes out at anyone that threatens his authority, including his niece, Rosalind (Ebony Jonelle), who is exiled. Taking on a male disguise, she similarly flees to the Forest of Arden bringing in tow her cousin Celia (Marjorie Agwang), and the trusty clown Touchstone (Vedi Roy). However, before her banishment, Rosalind falls head over heels in love with Orlando (Linford Johnson) whom she must conceal her true emotions from when their paths cross again in the forest.
The original songs that interject this adaptation, help to flesh the characters out further, giving their actions and motives more depth. Composed by American Shaina Taub, she is certainly a name to listen out for in the future. Her witty modern-day lyrics are reminiscent of the work of Lin-Manuel Miranda and help to give a nearly 400-year old story a current relevance.
This may be a community project, but by and large the main characters are played by trained actors. Stand outs include the incredibly watchable Ebony Jonelle who offers a vivacious Rosalind, whilst Vedi Roy as Touchstone delivers the sassiest clown in town. Rohan Reckord has such a smooth voice it will undoubtedly give you goosebumps when he sings.
Nevertheless, it is the amalgamation between the trained actor and the ‘average Joe’ that really is something special, proving that a passion for theatre is what truly wins out and that anybody has a right and the capability to perform on stage. During the colossal group scenes, it is nigh impossible to not feel moved seeing a broad range of people of all ages, abilities, cultures, and backgrounds coming together. The sheer joy that beams from the stage is infectious. The carnival-like atmosphere and colourful costumes (Hayley Grindle and Daisy Blower) make it a party you never want to leave.
