Though theatres are now operating at full capacity (if they choose to) — and audiences are wearing masks only if they choose to, as well — there is a great deal of uncertainty, as performances are being routinely suspended at the very last minute if a cast member proves positive or has come into contact with someone who has.
As part of a new series, our editor Lisa Martland picks out seven of her Top Picks from the last week of theatre (20-27 May 2019). Amidst her choices is the return of The Lehman Trilogy, impressing Jonathan Baz with its ‘sheer technical theatrical genius”, while Aleks Sierz asks whether wearing headphones during a performance of Anna at the National Theatre is all a gimmick or vital to the impact of the play.
Notwithstanding its flawed message, in these times of unparalleled political polarisation The Lehman Trilogy will be lapped up by eager audiences. And for sheer technical theatrical genius, the play is in a class of its own.
Musicals Company and Come From Away top the Olivier Awards 2019 nominations with nine nods each, while The Inheritance is the most recognised play with eight nominations. The ceremony takes place on Sunday 7 April at the Royal Albert Hall, hosted by Jason Manford.
Normally I do two of these – Top Ten Shows and Top Ten Performances – but this year I’m combining the two – plus some sundry other awards.
The West End transfer of the National Theatre’s The Lehman Trilogy, directed by Sam Mendes, will play at the Piccadilly Theatre from 11 May 2019 for a 12-week season. Simon Russell Beale, Adam Godley and Ben Miles will reprise the roles they originated at the National.
Stefano Massini’s work about the origins of Lehman Brothers Bank is a domestic epic and a remarkable evening of theatre.
News, reviews, controversies and commentary from the West End and Broadway, including the first West End job share and the re-opening of the Kiln Theatre (formerly the Tricycle).
The financial crash of 2008 has much to answer for, I think. Top of the list? Brexit and President Trump. One thing it has yet to really produce though, for my money (pun intended), is any really great theatre. Or perhaps I should qualify that statement: no really great theatre in English.
Like America promises so much to Henry Lehman when he stands on the dock side, The Lehman Trilogy at the National Theatre promised so much as well.
I came to a belated realisation: my life was not a dress rehearsal — and it really didn’t matter if I missed a few (dozen) shows. So when it came to booking this year’s P-town trip, which we do every January, we asked about availability for an extended stay.
Sam Mendes directs this production of Stefano Massini’s The Lehman Trilogy starring Simon Russell Beale, Ben Miles and Adam Godley. Here Love London Love Culture rounds up the reviews…
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
The clarity and resonance of the writing turns the tale into art, and the quality of direction, design and, above all, the magnificence of the acting, make this one of the best theatre experiences of the entire year.
Like two of its major successes last year, Oslo and Network, and despite some flaws, The Lehman Trilogy is another unmissable state-of-our-world account from the NT. Do see it if you can.
The Lehman Trilogy is an intelligent look behind the scenes of the American Dream and the smoke and mirrors of the corporate world, brought to light by Mendes’ astute direction and a stellar cast.
The Lehman Trilogy is a tale of boom to bust: Stefano Massini’s epic play, adaptedby Ben Power, takes a generational viewpoint to move us through 170 years of American history and three generations of Lehman men.
Moral, intriguing, endlessly entertaining, The Lehman Trilogy is a fluent masterclass from three of our finest actors. Awed.
The Lehman Trilogy is a substantial achievement, a beautifully balanced depiction of the role of one family in a much wider history of America.
There are, of course, a range of new shows to choose from – both in and out of London. Pigspurt’s Daughter (by Ken Campbell’s daughter Daisy) plays at Hampstead’s Downstairs venue, Honey will be performed at The Cockpit, Boxman and Where the Hell is Bernard? both run at the Blue Elephant Theatre.
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