“Simplicity here, works it’s magic”

A stripped back production that seamlessly delivers it’s epic tale of American capitalism.

National Theatre’s production of The Lehman Trilogy first opened in 2018. This current production at The Gillian Lynne Theatre marks it’s third return to the West End, among a successful run on Broadway and multiple awards under it’s belt.

The play itself condenses 164 years of history into a concise plot; Bavarian Jewish immigrant Henry Lehman arrives in the US in 1844. He is later joined by his two younger brothers, Emanuel and Mayer Lehman. Together they forge a brotherly alliance starting out as cotton merchants and eventually running one of the largest banks in America.

On the surface, this rag to riches story of the brothers, seems too grand to constrict into a theatrical production. The almost three and a half hour long duration with two intervals in between, may raise the question to modern theatre goers- is too long to capture the audience’s attention?

The answer is absolutely not- simplicity here, works it’s magic, regardless of the running time. This becomes apparent as the play starts and the curtain opens to reveal a bare stage lined upstage with a screen which provide the backdrop of each era via video projections by Luke Hall and Es Devlin’s glass box as the only set present on stage.

Not only does the stage design shine with this simplicity but also the dialogue throughout (Stefano Massini’s original play adapted by Ben Power). In essence, the play is comprised of long narrated sections told directly to the audience as well as dialogued scenes in between the characters. The lengthy narration in particular presenting a break from traditional theatre and reminiscent of stories being told by the fire, a feat which leaves the audience completely engaged throughout.

Through Sam Mendes’s direction, the action on stage is tight and slick – the cast John Hefferman, Aaron Krohn and Howard W. Overshown play the three brothers – Henry, Emmanuel and Mayer, respectively. All three are outstanding as the protagonists, each solidly playing their own characters and also doubling up as all other characters throughout the story – woman, children, Rabbis and minor characters present in the brother’s life.

A particular highlight of acting prowess demonstrated by Leighton Pugh (John Hefferman’s understudy) is presented in the play’s exposition – a lengthy monologue underpinning the political climate of the time and introducing the core of the story ahead – family. Pugh’s ability to deliver a great many lines, intricately expressing descriptions and painting a vivid picture through his words, managed to fill the space of the grand theatre and enrapture the audience from the start.

A tale of family, immigration and Capitalism spun around the core message of human resilience, all told through harking back to story telling at its finest.