Surprisingly brisk, this 3 plus hour drama follows the history of Lehman Brothers for as long an actual Lehman was involved, from 1844 (when Henry Lehman opened a fabric store in Montgomery, Alabama), to around 1969 (when the last Lehman family member to run the bank, Bobby, passed away). There is a brief coda about its decline and fall, but this is mostly the history of the Lehman family. It is a above all a portrait of “The American Dream.” It doesn’t shy away from that dream’s darker side: the brothers make their first fortune on the cotton trade, which at the time was driven by the historical crime of slave labor.
In a clever conceit, director Sam Mendes stages this saga in the offices of Lehman on the day before its 2008 collapse, projecting black and white imagery behind its glass walls to evoke the needed 19th and early 20th locales. Further, the three actors who play the founding brothers Henry (Simon Russel Beale), Emmanuel (Adrian Lester) and Mayer (Adam Godley) also play a host of other people as well. This causes some comedy when the stout, gray-bearded Beale plays a series of Lehman brides, who run the gamut from demure to deeply cynical.
The script, by Stephano Massimi (playwright) and Ben Powers (adapter), is comprised primarily of narration. These dexterous actors rather miraculously find ways to express action and emotion in the driest recitation of numbers and facts, which does a great deal to bring this story to vibrant life. Massimi has skillfully woven throughout the play thematic threads about bad dreams and ever-shortening periods of mourning for family members who pass away. The storytelling is uniformly crisp and exciting.
This so easily could have been tedious, but The Lehman Trilogy is tautly executed from beginning to end. This is the work of expert craftspeople and artists in every field of theatrical endeavor. Recommended.
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To learn about Jonathan Warman’s directing work, see jonathanwarman.com.