By Stefano Massini, Adapted by Ben Power
Marking its English language premiere of the production at Piccadilly Theatre, The Lehman Trilogy is a history all its own. Of course, who should take the lead but Sam Mendes, the auteur whose work, as of late, audiences world-wide have become accustomed to on the big screen. A box office best seller no doubt, Mendes returns to his stage roots at the West End to tell one of America’s greatest tales of immigration, religion, capitalism, and of course the rise and fall of one of the United States’ and the world’s most notorious financial institutions. We are graced by the appearance of veteran stage actors Simon Russell Beale, Adam Godley, and Dominik Tiefenthaler, whose reputations should precede them in their many exploits on stage, in movies, and on television. Playing the roles of Henry, Mayer, and Emanuel Lehman, they leave much to be desired in this somewhat autobiographical tale of the humble beginnings, and then later tragic loss of a company that closed its doors after more than a hundred years in the market. It should also be said that at different points in the play, the actors embody many other characters, so though it need not be said, it would be wise to give this show all of your focus, and then some.
The Lehman Trilogy however is unlike most productions you’ll see in that the simplicity of it is what drives it
To be candid, this play will require constant attention. Patience and listening are indeed a virtue here being that the show runs also runs in 3 acts, not to mention that many viewers may not be in any way familiar with this company or its story. For it is absolutely, a story, and a long one at that. Certainly a story that needs telling, The Lehman Trilogy however is unlike most productions you’ll see in that the simplicity of it is what drives it, and the complexity that lies within it is what carries it. Our trio of actors, only accompanied by a pianist off stage, are charged with telling us a story (literally, telling) in a format that can almost leave you guessing if you elect to zone out for a few minutes. This is something that cannot be afforded. This is because apart from the changes in voice and physicality, and trust that this is done quite well, there still remains to be seen any real character arc and even less resolution in what these three are doing. This piece appears to be more of a novel being read to its audience more so than a play to be performed. The set lends its hand appropriately, turning on a swivel to sometimes indicate “scene changes” and/or time past. Though beside from a few moments where props are added and then later taken out, it all but remains the same. However that said, the massive backdrop which functions as a projection screen changes often enough to where its new settings and time periods are more clearly understood. The set itself is styled in that of an office in Manhattan, one side of it more or so displayed as a conference room, not unlike many corporate buildings in New York. With these factors incorporated, it’s very apparent that Mendes’s time on the movie set has seemingly influenced his stage imagery.
Still, this show requires the audience to do the work. Though the actors will indeed set it up, it is the audience that must knock it down lest they risk getting lost in the plot. One thing to be certain of is that our actors, whom are far into their elder years, certainly do the justice of maintaining themselves physically, along with having a strong command of the material in a way that makes the show entertaining in relation to its initial format. As said above, stamina is required and that doesn’t just go for the audience.
The Lehman Trilogy will hit close to home for some more than others. Some will watch this production and remember what it was like waiting for that call. They will revert back to a period of possible anxiety and maybe even fear, knowing that potentially they along with hundreds of others, may not have a job after that call. For those that this excludes, buy the ticket anyway. It is without question, a story that needed telling.
**Disclaimer** – This version of the show was viewed in London. However, the current production is now on Broadway, with actor Adrian Lester standing in as Emanuel Lehman in his Broadway debut.
