The Lehman Trilogy opens in 1844, where a young man from Bavaria, Hayum ‘Henry’ Lehman (1844 – 1855), arrives in New York with a dream to work his way up in a bold new world. Lehman is joined by his two brothers, Mendel ‘Emanuel’ Lehman (1847 – 1907) and Mayer ‘Potato’ Lehman (1850 – 1897), and an American journey begins by simply buying and selling cotton. As the family grows, they move into the coffee exchange and invest in the railways and emerging industries, including airlines and motion pictures.
One hundred sixty-three years later, in 2008 to be precise, the Lehman Brothers firm collapsed into bankruptcy, which then triggered the largest monetary crisis in history. In three parts, The Lehman Trilogy charts the humble beginnings, outrageous success, and devastating failure of a business that had a detrimental effect on the global economy.
This fascinating story is told in three parts, running for approximately 3 hours and 20 minutes with two 15-minute intervals. Indeed, it sounds like a big commitment, but each chapter of this play is superbly engaging. It will honestly feel like no time has passed at all.
Before this short Sydney run, The Lehman Trilogy had its world premiere in London in 2018, then in New York in March 2019. It moved to run on West End soon after in May 2019 and then Broadway in 2021. In and amongst production, the play has won major awards and has been lauded worldwide. This incarnation, written by Stefano Massini, adapted by Ben Power and directed by Sam Mendes, is no different, deserving the recognition of its predecessors.
There are three actors in this play, and countless characters. The cast in this production include Aaron Krohn (Mayer Lehman), Howard W. Overshown (Emanuel Lehman), and Adrian Schiller (Henry Lehman). If ever you want to witness what A-grade stage acting looks like, here it is. Schiller has an infectious energy, nailing some truly complex dialogue, and morphing effortlessly into wives and children, and back again. Overshown has a powerful presence and booming voice, adapting and working seamlessly with the other actors. Krohn is incredible, really showcasing his mastery of varying dialects. Moving so quickly between them he had the audience in stitches. Overall, the three actors that are cast here had to be pretty great, and they really went above and beyond.
Being so focused on the stellar performances of the trio on stage you forget the beat of a piano is constant throughout the three-part play. Cat Beveridge, Principal Pianist in The Lehman Trilogy, deserves a standing ovation for being the invisible fourth character. The pace of the performances is carried by Beveridge. Clean, consistent, and heightening the mood on stage, the music is crucial, as is the player.
Congratulations to all designers and technical staff (set design by Les Devlin), orchestrating an ever-rotating stage and incredible digital screen-backdrop to support situating the characters in various locations across Alabama and New York, across space and 163 years of time. The stage felt quite cinematic, like watching a film in the 1900s. And every prop, however simple they seemed, had a place, and moved with the evolving story.
There are only three actors, wearing the same costumes, using the same props, on the same rotating stage with one pianist playing them through. Yet they have managed to create 163 years of change, represent entire family trees, and take the audience through so much narrative detail and emotion, without skipping a beat. This synchronous act (in three parts, no less) is something that does not come around every day. An absolute must watch for theatregoers.
FIVE STARS (OUT OF FIVE)
The Lehman Trilogy is playing at The Theatre Royal in Sydney for a limited 4 week run until 24 March 2024. For tickets please click HERE.
The reviewer attended opening night on 1 March 2024
