Review by Daz Gale
⭐️⭐️⭐️⭐️⭐️
After multiple awards and acclaimed international performances in a show now seen by over half a million people worldwide, the global sensation that is The Lehman Trilogy returns to London for what is now its third West End run. Always wowing audiences and critics alike, can this match the success of its previous two runs and complete the trilogy or would it feel like the time has come to close up the business?
First seen in 2015, the English translation of The Lehman Trilogy premiered at National Theatre’s Lyttlelton Theatre in London in 2018, enjoying a West End transfer the following year. A Broadway run followed before a return to the West End at the Gillian Lynne Theatre for a limited season last year. Now, nearly a year and a half after its last performance there, it is back for an encore run. I saw this show for the first time in its last West End run and was completely blown away, giving it 5 stars to add to the many others it had already received. One decidedly niche problem for a theatre reviewer is the prospect of reviewing a show you have previously reviewed again – particularly if it’s something you completely adored. There is the worry if you would enjoy it as much second time around or if you would take something different from it, especially if there are different elements involved such as, in this case, a different cast. Thankfully, as the star rating at the top of this review suggest, I needn’t have worried.
An epic story spanning 163 years and multiple generations, The Lehman Trilogy tells the story of the ‘Lehman Brothers’ firm, from its humble beginnings to expansion to market domination to its eventual demise. Beginning in 1844 as the first of the three Lehman Brothers arrives in New York, soon joined by his two brothers, over the course of three acts we see their lives play out in full before their descendants take over, charting the journey until the last Lehman at the firm has breathed his last.
Perhaps on paper, The Lehman Trilogy doesn’t sound like the most thrilling of stories, particularly if you have no interest in the worlds of business and finance. After all, this play focuses on the rise and fall of a company that triggered the largest financial crisis in history. However, there is so much more to this story than that in a rich story steeped in the very essence of humanity. From the good old American dream to ambitions to better yourself and build a better life to leave behind a legacy, there is no shortage of themes to explore in this surprisingly accessible tale.
The key to the success of The Lehman Trilogy is in Stefano Massini’s exquisite writing, masterfully adapted by Ben Power. Divided in three distinct acts titled “Three Brothers”, “Fathers and Sons” and “The Immortal”, it may be a tad on the long side but the way the time whizzes by with 163 years covered in 3 hours and 20 minutes (two intervals if you’re wondering) is a testament to the quality of the writing. Beautifully poetic in its nature, the writing has a melody and rhythm to it, almost lullaby-like, with patterns and repeated motifs punctuating the dialogue. With the cast of three switching from narrating their stories, speaking of themselves in the third person to differentiate who they are playing, to interacting with each other, the writing continually captivates. Full of wit, resulting in many a laugh throughout, the play also offers more somber moments, with one sequence following the infamous day that was Black Thursday expertly written, leaving me with a lump in my throat.
As skilful as the original writing. Sam Mendes’ jaw-droppingly stunning direction takes this play to another level entirely. With no shortage of creativity, Mendes’ inspired choices takes the setting of a sterile board room and fills it with imagination using nothing more than the movement of a few boxes. Though the cast consists of three middle-aged men, the ability for them to transition from one character to another, be it a woman, child or much older person, is nothing short of inspiring, with the precision, attention to detail and execution all faultless, and leading to what a marvel this production is.
Es Devlin’s set design is beautiful in its simplicity with the same contemporary board room representing different centuries with one of the best uses of a revolve you will find in the West End. Jon Clark’s lighting design is used to great effect with composer and sound designer Nick Powell creating a magnificent world of sounds ensuring the stage feels far bigger than that of the three performers filling it – special mention has to go to the only other person, not quite on the stage but in front of it as pianist Cat Beveridge provides a glorious element to the proceedings, with her input making the show feel more live and easy to connect to. The production element that really blew me away, however, is in Luke Halls’ exceptional and varied video design, providing the perfect backdrop, ensuring the play feels grander than it otherwise could. One particular sequence highlighting the genius of the design comes in the final act where the video is tirelessly used to full intensity, creating a dizzying effect.
Taking on the roles of the three Lehman Brothers, as well as every other character oresent are John Heffernan, Aaron Krohn and Howard W. Overshown. All phenomenal in their own right, they are impossible to separate, leaving not just three standout performances but dozens of them when you factor in their various roles. Their abilities to tap into all of the intricacies of the main Lehman’s they are portraying before effortlessly switching into someone completely different is second to none, with the overall quality of acting among the best you are likely to see on a West End stage this year
John Heffernan begins the proceedings with such a charm and intrigue, it becomes impossible to not buy into the story as he introduces us to the Lehman world with his founding Brother, Henry. His most memorable performance comes in Phillip who we see from child with some humorous and impressively wordy speeches/ Aaron Krohn gets to showcase the most versatile of performances with particularly enjoyable takes on a small child and other Lehman’s love interests, but it is his Bobby that showcases his true strengths as a character actor. Last and by no means least is Howard W. Overshown who remains a dominant force, first as Emanuel Lehman, and later on in his other roles. With three distinct character styles and a multitude of characters, the three actors provide an abundance of riches, becoming a family of actors at the top of their game.
It is no wonder why The Lehman Trilogy has lasted as long as it has, seemingly never running out of steam and always proving incredibly exciting. Three hours and 20 minutes feels like a mere moment thanks to the consistently flawless production value, inspired direction and truly sensational talents that are the trio of actors gracing the stage. Make no mistake, this play is theatre at its very best. Distinct, riveting and unashamedly real. With a production as good as this, I think it’s safe to say The Lehman Trilogy will be in business for many years to come.
The Lehman Trilogy plays at the Gillian Lynne Theatre until 5th January 2025.
Photos by Mark Douet
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