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Photo credit @ Mark Douet

Review: The Lehman Trilogy, Gillian Lynne Theatre

Even if you are unfamiliar with the world of finance, you’ve likely heard of Lehman Brothers Inc; the company that ruled Wall Street but collapsed during the 2008 financial crisis. Yet, you may not be familiar with its history, which The Lehman Trilogy expertly explores, uncovering ambition, success and eventual failure. Adapting from Stefano Massini’s five-hour epic, Ben Power does a remarkable job of cutting the play down to three, with two intervals helping prevent restlessness from sitting for too long. In 1844, in Montgomery, Alabama, Hayum Lehmann arrives from Bavaria to open a clothing shop. He changes his…

Summary

Rating

Unmissable!

A visually and sonically stunning exploration of the rise and fall of the Lehman Brothers.

Even if you are unfamiliar with the world of finance, you’ve likely heard of Lehman Brothers Inc; the company that ruled Wall Street but collapsed during the 2008 financial crisis. Yet, you may not be familiar with its history, which The Lehman Trilogy expertly explores, uncovering ambition, success and eventual failure. Adapting from Stefano Massini’s five-hour epic, Ben Power does a remarkable job of cutting the play down to three, with two intervals helping prevent restlessness from sitting for too long.

In 1844, in Montgomery, Alabama, Hayum Lehmann arrives from Bavaria to open a clothing shop. He changes his name to Henry Lehman (John Heffernan) and is soon joined by his brothers Mendel Lehmann, who becomes Emanuel Lehman (Howard W. Overshown) and Mayer Lehman (Aaron Krohn). Their small business evolves to dealing in the cotton trade, investing in travel and eventually transforms into a bank. Spanning over 164 years, the play introduces us to three generations of the Lehman family.

Heffernan, Overshown and Krohn play various characters that impact the Lehman brother’s lives. From old, frail Rabbis to ruthless traders and southern belles, all three have the impressive ability to rapidly change mannerisms and flawlessly switch characters. Heffernan as Philip Lehman is exceptional, his rapid-fire dialogue delivered with excellent skill.

The world encompassed is a man’s world. Finance back then – and still to an extent today – is a male-dominated field. However, the representation of women here is at times questionable. The portrayal of Babette Newgass is initially funny, but subsequent female characters are then played similarly and hinge on ditzy stereotypes.

A huge curved screen shows old and modern photos of America, updating as the years pass. The set features a glass box, divided by windows into a boardroom and two offices. As the Lehman business grows, the brothers use the bigger rooms, reflecting their success. Additionally, the stage rotates, symbolising the constant forward momentum in both the business and their lives.

The cast utilise the space and set effectively, writing on the glass windows and moving cardboard boxes. Ironically, the boxes which became synonymous with the 2008 crash (as workers removed their belongings from the Lehman offices) are used as ladders in the play.

Old-fashioned black suits and coats are worn throughout the three acts. The costumes, alongside the monochrome set, are reminiscent of an old black and white photograph, grounding the play in its history. This contrasts sharply with the modern decor of the boardroom, creating a tension between past and future, and nervousness about what’s to come.

Principal pianist Cat Beveridge plays piano beneath the action. The music has a duality too, with the tunes sometimes contrasting with the dialogue. It acts as a fourth character, underscoring the tension, except during the jovial scene when Bobby Lehman dances the twist to ‘The Beat Goes On’.

A particularly memorable scene depicts Black Thursday, the Wall Street Crash of 1929. The sound of gunshots, representing the bankers who killed themselves that day, blends seamlessly with the pop of a champagne bottle, creating an uneasy feeling. Emanuel then steps out of the glass box, and this jarring moment feels like an invasion of the audience’s space.

The Lehman Trilogy is a theatrical triumph, its themes remaining highly relevant today. The brothers’ marketing strategy promoting buying as instinct rather than a necessity, encourages customers to “buy, buy, buy” and this dangerous concept still holds true in contemporary consumerism. The script’s striking use of visual language mirrors the rise and fall of the Lehman Brothers. Ultimately, this play offers a profound reflection on the cycles of history, where ambition and failure are, and always will be, intertwined.


Written by: Stefano Massini
Adapted by: Ben Power
Directed by: Sam Mendes
Set design by: Es Devlin
Video design by: Luke Halls
Lighting design by: Jon Clark
Music direction by: Candida Caldicot

The Lehman Trilogy plays at the Gillian Lynne Theatre until Sunday 5 January. Further information and booking details can be found here.

About Amelia Braddick

Amelia Braddick is a creative and ambitious journalist with a particular interest in arts and culture. She has experience writing across a variety of platforms, including print, digital and social media. When she's not reviewing plays, she'll be drafting her own, walking her miniature dachshund or getting far too competitive at a pub quiz.