The Score
The Score is a brand new play currently showing at Theatre Royal Haymarket near London’s Piccadilly Circus. This beautiful theatre has previous hosted a vast array of shows from classic plays like A View From the Bridge, Waiting For Godot to Noises Off and Peppa Pig’s Fun Day… however The Score is proving to be a very different show indeed! Will it leave audiences humming along or will it fall flat?
The Score fits in well at the Theatre Royal Haymarket, which is one of the oldest venues dating back to 1720 and coincidentally is just a few decades before this true story actually happened in Prussia, 1747. Set on a stage raked with such a steep incline, it’s difficult not to worry about acting legend Brian Cox rolling right off into the audience, although as expected, the ‘Succession’ star keeps confidently composed and thankfully, upright throughout. Oliver cotton has written this new and quirky play, retelling the feud between Johann Sebastian Bach and King Frederick the Great, also known as Frederick II of Prussia. Being wildly contrasting in their beliefs on politics, religion and war, both gentlemen eventually discuss their differing views and enlighten the audience of the inspiration for one of Bach’s greatest works. The script has been well written, with an admittedly slow start which accelerates as we get further into it, yet falls flat. You could say the delivery was not exactly music to our ears. But how can this be, with a glittering cast and creative team?
Cordelia Monsey is the Associate Director to renowned theatre Director Trevor Nunn, known for his plethora of great work in London’s West End. Other creatives working on The Score include Robert Jones as the set and costume designer, Johanna Town as the Lighting designer and Sophie Cotton: Sound designer and composer.
The costumes were realistic and as you would expect for the time period of the piece. The Baroque period was known for it’s over embellishments in decor, music and well just about everything - which is why the set of The Score is slightly disappointing. It did well to highlight the polarity of the King’s lavish and opulence in comparison with Bach’s humble living conditions however could have gone further with the opulence, instead offering simplified and basic displays. The stunning tapestries featured during the piece alongside the detailed artwork saved the set from being totally forgettable.
For a play centred around classical music, it featured hardly any live playing and instead, presented embarrassingly fake gestures at the harpsichord thrown in with some miming too. Where was the beautiful live piano playing we were craving from a show all about one of the most prolific musical composers of all time. Ironically, with the very subject of the show being The Musical Offering alongside a title The Score, the live music element was lacking and didn’t strike a chord with the audience.
The joviality and energy, especially from the younger actors in the piece was gratefully welcomed to lighten the stage after the heavy topic of war and abuse were addressed. Generally, the acting was exaggerated and slapstick, lacking the emotional depth and realism, with a hammy playing up to the audience. On occasion, confusing comedy with silliness almost turned The Score into a parody of itself. Too over the top to be taken seriously, yet not quite enough to be classed as a sophisticated pantomime.
Following it’s first run at the Theatre Royal, Bath from 12-28th October 2023, it feels a great shame that the play hasn’t taken into account the feedback by critics and seems to be presenting the same issues. One of the main ones being the hit and miss of strange accents flying around the stage all night, with the worst being that of Voltaire’s, making a mockery of the French speaking character. From this portrayal, we are fed the impression that François-Marie Arouet, also known as Voltaire, was more of a court jester than a famous philosopher, writer and historian. However most of the cast could add a stronger crescendo and build to the emotions rather than undergoing such sharp outbursts.
Joining Brian Cox, acclaimed actor who leads the show with his take on Johann Sebastian Bach, we have Nicole Ansari-Cox who plays his wife, Anna, Jamie Wilkes as his son, Carl and Stephen Hagan playing a delightfully amusing Frederick II. Peter De Jersey is Voltaire, Juliet Garricks is Emilia and the King’s three loyal musicians Christopher Staines, Toby Webster and Matthew Romain.
From this play, Bach proves to be an intriguing character, one who highly regarded morality and justice. The Baroque composer produced more than 1100 works, from fugues to cantatas, and it is truly wonderful to have the opportunity to celebrate him and his musical masterpieces right here in the centre of London.
With such an interesting story of a feud between two prominent historical figures, eventually leading to the creation of what Charles Rosen described as the most significant piano composition in history, the potential for this show to be great is hindered only by some small but vital components. Improvements such as using live musicianship, a deeper, more truthful delivery of the text and believable accents would dissipate the dissonance of the piece to give The Score the perfect cadence that is deserves.
This show was reviewed on the 27th February 2025 at the Theatre Royal Haymarket, London where it runs until the 26th April 2025. Tickets and available here: The Score | Official Theatre Website
Review written by Lauren Atkinson
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Photo credit : Manuel Harlan
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