Review of ‘The Lehman Trilogy’: “A triumph at all costs”

The National Theatre’s celebrated production returns to the West End for a new limited-running season featuring a whole new cast. Guillermo Nazara shares his views on the show, to let us know if this enterprisimg recount about the financial pioneers manages to pay off.

It’s the oldest story in the book that’s set to put money in the bank, quite literally. The rise and fall of a legend, whose goals and achievements redefined the workings of economy and, in consequence, the course of history for over a century. For some, a picture of resilience, inspiration and accomplishment. For others, an example of the excesses of capitalism in its crudest forms, and a cautionary tale about the dangers of the so-called American dream turned into liberal greed as its finest. In any case, the legacy of the three brothers that (not-quite-single-handledly) brought hope, growth and, eventually, terror to the whole world has grossly earned its place onstage.

There’s not much left to say about Stefano Massini’s genuinely brilliant (and subsequently, critically acclaimed) recount of the Jewish-German siblings that built one of the most powerful financial empires for years to come. So many have seen it. So many have praised it – it’s second return to the Gillian Lynne Theatre must count for something (no pun intended). A clan that moves from actual rags (they started selling fabrics) to the most insanely decadent instance of wealth, succeeded by people of even greater ambition – and finished by the ultimate twist of events not even them (the lords of destiny) could even control. It’s a drama that basically writes by itself, and which both Massini and Ben Power (credited with the adaptation) have been able to shape in the most exquisite way.

A rich narrative that depends on very little expenses, where only three actors (if we do not include the 10 additional assets that inflate the last minute of its three-hour-and-a-half performance) metamorphose from character to character (no matter age, status or potential wife-candidate) with absolute ease. A contemporary office overlooking Wall Street, where the spirits of its founders emerge to take us into a journey with no direct stops or destination, but the ever-going flow that represents the spiraling nature of their business.

Directed by Sam Mendes, the production is masterwork of pacing, execution and, all in all, dramatic effectiveness. No element is missing. No tool is overused. It has what it needs and only what it needs. Perfectly exposed bit by bit, where gravitas and humorousness coexist in complete harmony to concoct an evenly balanced and extremely gripping jaunt, the play effortlessly bonds with the viewer through the seductiveness of its style and the affluence of its content. There’s pathos and reason. There’s profundity, emotion and philosophy. And, on top of it, there’s an outstanding analysis of the human condition that explores, with unconditional honesty, the flaws and virtues of those who may have achieved greatness – but in the end got crushed by what they created themselves.

Featuring an intelligent set design by Es Devlin, beautifully complemented by Luke Hall’s enthralling video animations, the other grand winner of the evening is, undoubtedly, its truly sensational cast. Almost as unpredictable as the essence of the background it depicts, Leighton Pugh stepped last night as the understudy for John Heffernan in the role of Henry Lehman. The investment, though, proved to be successful – giving a remarkably compelling interpretation that exuded tremendous presence, magnetism and total rapport towards his fellow colleagues. On the other hand, Howard W. Overshown also makes a memorable appearance as Emmanuel, endowing his personage with charm and a sense of robustness. Yet, the biggest mention goes to Aaron Krohn as Mayer, delivering his part with astounding confidence, poise and vigourousness – making of his portrayal the indisputable golden share of the entire montage.

An icon in the arts dealing with an icon of another kind (I’ll let you be the judge for that), The Lehman Trilogy puts every stock into its craftsmanship to convey an utmost victory in every angle and from all perspective. Deep, sincere and gracefully unbiased, the show follows, quite understandably, the same creed as ome of its antiheroes. And, just like the second-generation president claimed (or people claimed about him) that he didn’t want to win, he decided to win, Massini and Co. have demonstrated the same farfetched purpose as the eager tycoons they’ve so vividly brought to the scene. But only one of them collapsed in the end.

All pictures credit to Marc Douet.

The Lehman Trilogy plays at London’s Gillian Lynne Theatre until 5 January. Tickets are available on the following link.

By Guillermo Nazara