Review by Neal Newman
March 23, 2024
Why was the year 2008 such a financial disaster for the entire world? Why did a century-old bank like Lehman Brothers surprisingly fail and cease to exist? This is the conundrum explored in THE LEHMAN TRILOGY by Stefano Massini and extensively adapted by Ben Power, an associate director at the National Theatre of Great Britain. It receives its area premiere at the Arden Theatre.
Adaptor Power made several daring choices. The three Lehman Brothers who immigrated to Alabama from Germany would be played by only three actors, who would enact not only the immigrants but also all their sons and heirs as well as any other characters, male or female, that might be needed. The three actors also narrate the play, describing changes in location, setting, and costume as required. The National, unsurprisingly, had the services of the finest actors in existence and was able to cast the play with performers who could easily solve any difficulties the concept presented. The original was a visual feast set in a glass box on a constantly revolving turntable.
The Arden’s production is “co-conceived by” the set designer and the director, Jorge Cousineau and Terrence J. Nolan. And quite a conception it is. The mostly bare stage features movable small tables and chairs. Cousineau’s impressive “Video Design” is backing all of this, which assists in creating the eras covered. The pictures begin with cotton fields in Alabama and segue to rural street scenes. As the brothers move to New York, we see the city’s varying skylines. As the action ramps up to the computer age, films and action sequences take over. It’s quite a ride. Asaki Kuruma’s understated costumes underline the changing decades, and Krista Smith’s lighting brings it all home.
The actors are excellent in their varied roles, though not entirely on the level of what we saw at the Armory in New York. But the performance improved as the trilogy unfolded. The first act was a little hard to follow, with the rapidly changing accents and lower energy. Things improved in Act Two, where the characters were now native-born Americans, and Act Three really took off. By this time, the three performers had a lot of fun, and the various vignettes became more specific and hilarious. Scott Greer scores as Henry, the stubborn founder of the company, as various Lehman wives, and a governor of Alabama. Charlie DelMarcelle plays Emanuel, the middle brother who is always off to New York. He also shines as many of the sons and later computer-based stock traders. Akeem Davis doesn’t have the tongue-tripping vocal dexterity needed, but his wild Bobby, ably dancing as a horse trading, art-loving Lehman, is a delight in the third act. Through it all, we see a panorama of American history through the eyes of money as the brothers move from selling fabrics to cotton to investments to stock trading. One imagines that these Jewish immigrants had a lot to do with slavery in the pre-Civil War South, but this British play doesn’t deal with it.
If the above appeals to you, don’t miss it.
PS. This production introduced me to the AI Smart Caption Glasses. If you like your television with captions, you can now have a play with subtitles. The glasses adapt to caption size and color and follow the action in real time. It is an impressive aid to those with hearing loss. It didn’t quite work for me since I couldn’t fit them comfortably over my standard eyewear, but I was impressed. The National Theater in London introduced this product, and only two theater companies in the US have them.
RUNNING TIME: Three hours with two intermissions. Be sure to check the early start times.
The Arden Theatre Company presents THE LEHMAN TRILOGY through April 14 at 40 N. 2nd St in Philadelphia. Tickets can be obtained at ardentheatre.org or by calling 215-922-1122.