The Lehman Trilogy
I had heard the name of this play frequently, with many people praising it, but beyond that, I knew little about it. The play is divided into three parts, with two short intervals, and runs for three hours and twenty minutes.
The stage features an enormous video wall, arching around where a traditional cyclorama would be. The images are subtle and do not intrude on the action. At times, I found myself consciously trying to figure out whether I was seeing a static image or video. For example, there is a scene where we see New York Harbor, with the waves gently moving. During fire scenes, the video wall becomes more prominent, highlighting and weaving together the action. Luke Halls (Video Designer) uses this imagery effectively, adding depth and colour to powerful moments.
Es Devlin (Set Designer) places a giant glass office cubicle centre stage, divided into three parts and decorated with iconic luxury office chrome and leather furniture, like the Eames office chair and Le Corbusier sofa. Filing boxes, used throughout the production, are moved around to represent different places or objects. The set and costumes are predominantly monochrome, with occasional colour highlights from the lighting or video wall.
As a regular theatre-goer, I may be desensitised to revolves and automation, but watching this enormous cubicle spin with such precision was both miraculous and slightly unnerving, as I worried it might overhang.
In contrast to the set, Katrina Lindsay’s monochrome costumes reflect the time period of the 1800s in which the story begins. Though the play spans decades, the decision was made to keep the costumes consistent throughout. Even when portraying different characters, the actors relied on voice, physicality, and subtle changes like adjusting how they wore a coat to signify shifts in character.
The play opens with a radio on a table, and Nick Powell’s (Composer and Sound Designer) attention to detail is notable. The sound of the radio moves from the desk, gets carried away, and transitions seamlessly to the main speakers. This directional sound technique, while often underused in theatre, adds a layer to the production and deserves commendation.
At its heart, The Lehman Trilogy is a story about family, not just about cotton, coffee, or money. Through trading and being middlemen, we navigate complex situations. The play is wonderfully written, and despite its length, time seems to fly by. The characters are introduced with a form of self-narration, highlighting amusing traits or providing insight into their personalities. This technique is particularly effective when we meet them as children, watching their personalities grow over time.
Humour is threaded throughout the play, often through repetition. Recurring jokes, such as the constant changing of their shop sign, or one brother always being right, and the women being courted also bring comic relief.
One of the play’s highlights is the ease with which we travel through decades while maintaining the connection to characters and family members we have already met. There are recorded sounds in some sections, but Cat Beveridge (Principal Pianist) also plays live, with one humorous moment being her rendition of “Baa Baa Black Sheep,” intentionally off-key, which must be a lot of fun for such a talented performer.
The play touches on sensitive historical moments, including yellow fever, slavery, and the Wall Street Crash. The three performers are remarkable, each one handling multiple roles. Standout moments include:
Aaron Krohn as Mayer Lehman, performing as the soon-to-be wife. John Heffernan as Henry Lehman, playing the son as he takes his leave. Howard W. Overshown as Emanuel Lehman, portraying a questioning child.
Directed by Sam Mendes, with Rory McGregor as the West End Director, the play is a triumph of storytelling and technical execution.
This show was reviewed on the 9th October 2024 at the Gillian Lynne Theatre, London where the show runs until the 5th January 2025. Tickets available here: The Lehman Trilogy London Tickets | Gillian Lynne Theatre (lwtheatres.co.uk)
Review written by Valentine Gale-Sides
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Photo credit: Mark Douet
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