now The Lehman Trilogy. It opens up on a traditional Broadway stage – praise be to God, no neck – and it feels like a very different, much better show. Designer S. Devlin’s glass cube is now right in front of us, and so are the actors. Now staged on a traditional scale, it is an intimate, charming piece of theater, beautifully worked, designed, and illuminated. An epic weird thing has become such an epic food that it even clears up some history and neglects to tell the rest.
Original company members Simon Russell Bell and Adam Goodley returned, and Adrian Lester joined the cast in his Broadway debut. First they play three real. Lehman The brothers (Henry, Mayer, and Emmanuel), and as the drama progresses, there are many more characters – whatever the drama is, it’s a performance festival, and the three men are great to watch. Characters exist as characters, and also provide third-person historical information, story notes, and stage directions. This is a clearer comment than the game.
Through three parts, “Three Brothers,” “Fathers and Sons,” and “The Amort,” we travel through Henry’s founding of the Lehman Brothers Company in 1844. Alabama Its devastation, the subprime mortgage crisis and the resulting global burial The 2008 financial crisis. Along the stage, the show’s musical director, Candida Caldcott, came along to play history with a piano to unravel the history.
Playing this piano, with the tongue and the amazing imagery behind Luke Halls’ cube, takes us from the cotton plants of slavery-era Alabama to twenty-first-century Manhattan, and the dreamy quality of this play. Highlight Sometimes, New York Harbor and the Statue of Liberty are encountered. And when the swinging sixties hit, and all three actors were standing on the boxes and twisting, all of a sudden the projections faded and faded with a fast, mesmerizing speed.
The historical sweep of the Lehman story is in racism, the immigrant experience (Lehman was a Jew from Bavaria), fraternal and family tensions, capitalism, computers and imprisonment. The joy of the play is less in the details than in the description. Stefano Massini’s script, adapted by Ben Power, is one of reason, debate, poetry and solitude. Not confusion, complexity and moral ambiguity. The script is most exciting, like the brothers and their children, about a new opportunity to make money.
The three actors play not only three brothers but also wives Palin and Babita. He then plays his sons, Philip and Herbert, and Philip’s wife, Carrie. He plays Bobby, Philip and Carrie’s son, and Ruth Lamar, Bobby’s Vamp to Max first wife. This may sound ridiculous at the moment (especially the excellent role of Godley’s potential wives whom Philip considers), but the female characters have a pantomime tone and a sense of humor. The play may have written women in action, but it doesn’t know what to do with them, instead we encourage them to laugh at their exaggerated femininity.
As a man, actors have a lot of room for drama. Lester plays Emmanuel as a strong counter-balance with Henry in the company’s early years. Russell Bell nurtured Philip’s great self-confidence
The drama encouraged him. Extreme depression Instead of the accident of 1929 (and the suicide of the people on Wall Street at that time), 2008, when no Lehman was still alive to see the end of the family company. As time goes on, so do glass cubes.
The cube becomes a fourth character, a plumpist whose sides end with the numbers of previous years – money, money from the war. The sign of the original firm, as an outfitter, is no more. The “bank” replaces it. The story is detailed, but not critical. We learn a lot about the history of the company (and it’s also available online and in books), but not more than the characters of the brothers and their descendants who are unique and important moments in the history of the company that Leicester, Material for Russell Bell, and Godley’s acting tour.
“In the service of giving a golden glow to the past, the drama skates over any cruelty and greed that first inspired the growth of a company like Lehman.”
As the world accelerates, so does the drama, MegaFigard Financial Summary, which reminded this critic of many dramas and films related to finance.Enron, Margin callWho used the same device.
The play is not a critique of Lehman, but tells a very traditional story of capitalism کہ that family-run companies were morally better than shark-like, greedy technocrats who would come in and take over. We know that the ultimate destruction is coming, by the way – the signs of doom in the play begin with the fire of the plants, and the recitation of the lines like “Everything is breaking.” All three brothers have recurring dreams. A cool breeze is mentioned in the foreground, and the air conditioning in the theater really ripples over you (bring a jacket) – an unintentional but effective combination of text and theater.
In the service of giving a golden glow to the past, the drama waves on any cruelty and greed that brought the growth of a company like Luman to the forefront. What’s the difference between shifting your focus from clothes to cotton to railways in the name of making more money than the ruthless bankers of the post-company years? Instead, the drama softens and softens humans مرکزی focusing on the Jewish identity of the brethren and the status of immigrants, or seeing how an old-fashioned company differs from today’s soulless behemoth. I’m sad
When Bobby died in 1969, the company passed into the hands of Lewis, Leo, Gluxman, Pete Peterson, and finally Dick Fold. The family left. After Bobby’s death, the drama doesn’t really sketch Lehman Brothers’ last 39 years. There is a quick commentary, and some pious statements about the traitor of unshakable capitalism, and it is a shocking final scene that feels more clich than meaningful.
For a play that is so ridiculous about the foundations of a giant of contemporary capitalism, it feels so quick to shine on its final working conditions. The Lehman Trilogy. There is a wonderful piece of theater, with three great performances. But it is more determined to remember that his insistence was the basic dignity of his ghosts, rather than sketching the characters and the wrongdoings that led to Lehman’s demise.