“He dances so hard, he doesn’t hear the music stop”
Sam Mendes’ production returns with terrific direction from Zoe Ford Burnett. It is 1844 and embracing America with wonder, Henry Lehman (Nigel Lindsay) starts a fabric business with his brothers, Mayer (Hadley Fraser) and Emanuel (Michael Balogun). The three begin to build a business empire of magnificent scope. We watch the Lehman men across several generations; their brotherly disputes, marriages and how the business grows and expands and its drastic fall in 2008.
Where to begin – this was an exquisitely crafted production, with all of the elements feeding beautifully into each other to tell the brimming story of the Lehman family. The concept of evolving is introduced early, as Henry changes his name from a less pronounceable Jewish one. Stefano Massini’s script, adapted by Ben Power captures a certain melancholy and respect for the relentless nature of humanity and the transience of life which is amplified in this story by the huge stakes. The characters all age and ultimately struggle to catch up with their economic surroundings. A slow and steady first act precedes the second and third speeding up, building in intensity.
The cast of three show incredible stamina and versatility as performers as they transform into each role they play. Lindsay as Henry, is charming with a will of steel and an effervescent, entrepreneurial spirit. Lindsay plays girlish parts with a comedic elegance and flirtation. His acute portrayal of young Philip Lehman transitions truthfully into his older selves, maintaining a slightly nasal tone and rational demeanour. Balogun plays Emanuel with glistening eyes and a sharp fierce, contained determination. He also has the role of Herbert Lehman, who is ruthlessly thrown out of the business and goes on to become the Governor of New York. Fraser’s Mayer is the peacekeeper, a “potato” to his older brothers who comes up with ingenious ideas. He also plays the idealistic Bobby Lehman, the last standing Lehman Brother and he does impressive vocal caricatures as other characters. In theory, the multi-roling with little costume change should have been baffling, but Power’s terrific Brechtian adaptation engages the audience with razor sharp, focus and Polly Bennett’s ingenious movement direction delineates the different characters.
The actors are so settled and assured within their characters, that even with sharp physicality, there is a relaxed, brotherly camaraderie between them, as they neatly pick confetti off each other’s coats in between scenes. They subtly convey the difference between the first Lehman’s with their adherence to Jewish tradition, as they graft in a contained, inquisitive manner to the later generation’s power stances and swift movements, matching the speedy, greedy, booming America. This is reflected in the gradually increasing technical elements of the play with dizzying and novel video design by Luke Halls, combined with climactic lighting design by Jon Clarke. Nick Powell’s composition and sound design articulated the quirkiness of the play and its Wes Anderson-esque particularity. The repetitive, rhythmic style is nostalgic as sinuous transitions push the plot along.
Es Devlin’s set design is packed full of symbolism with a rotating cube that holds office rooms. It is elevated and separate from the rest of the backdrop of changing surroundings, like a castle in the air. The glass walls are filled in with the city scape mirroring the Lehman’s adaptive mindset.
Whether you’re interested in economics or not, The Lehman Trilogy is a fascinating, timeless story full of laughs as well as nightmares. This production exceeded my expectations and the tragedy of the last scene as Bobby Lehman dances will stay with me for a long time.
Showing until May 2023 – https://thelehmantrilogy.com/
Reviewer: Riana Howarth
Reviewed: 9th February 2023
North West End UK Rating: ★★★★★