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Reviews by Daniel Barnett
The Lehman Trilogy has made a triumphant return to London’s West End, now gracing the Gillian Lynne Theatre after acclaimed runs on Broadway and in previous West End seasons. Directed by the renowned Sam Mendes, this production has garnered multiple awards and critical acclaim. The show’s significance lies not only in its exploration of a pivotal financial dynasty but also in its reflection on the broader themes of ambition, legacy and the American Dream.
The narrative of The Lehman Trilogy spans 163 years, chronicling the rise and fall of the Lehman family from their humble beginnings to their eventual downfall. The story begins in 1844 when the first brother, Henry Lehman, arrives in America, setting off a chain of events that will shape the financial landscape. As the brothers – Henry, Emanuel and Mayer – build their empire, we witness their struggles and triumphs through three distinct acts.
The first act introduces us to the brothers as they establish their business amidst the bustling backdrop of 19th-century America. The second act shifts focus to the next generation, exploring familial dynamics and the weight of legacy. Finally, the third act delves into the catastrophic collapse of Lehman Brothers, ultimately leading to a global financial crisis. This sweeping tale is told with a blend of humor and tragedy, making it accessible and deeply engaging.
At the heart of The Lehman Trilogy are three remarkable actors: John Heffernan as Henry Lehman, Howard W. Overshown as Emanuel Lehman and Aaron Krohn as Mayer Lehman. Their performances are extraordinary and showcases a range that spans multiple generations and diverse characters. Each actor adeptly transitions between roles, embodying women, children, and elderly figures with equal conviction.
Krohn particularly stands out with his versatility, as his portrayal of a female love interest is humorous and poignant. The chemistry among the trio is fantastic, enhancing their storytelling as they navigate complex familial relationships. Their ability to deliver comedic moments with impeccable timing adds depth to an otherwise serious narrative.
Sam Mendes’s direction is masterful and employs a revolving stage that transforms beautifully between settings. This innovative design choice keeps you engaged while emphasising the passage of time in the Lehman saga. Es Devlin’s set design is striking yet simple. It allows for imaginative interpretations without overwhelming the story.
Lighting by Jon Clark and sound design by Nick Powell create an atmospheric backdrop that enhances emotional beats throughout the performance. The inclusion of live piano music by Yshani Perinpanayagam adds an intimate layer to the experience, grounding the theatricality in raw human emotion.
Walking into The Lehman Trilogy, I was prepared for an epic tale but was unprepared for how quickly time would fly. Despite its lengthy runtime of nearly three and a half hours, with two intervals, I found myself completely absorbed in the story from start to finish. The pacing may feel slow at times during Act One but it serves as a necessary foundation for understanding the complexities that unfold later.
What struck me most was how Mendes and his team managed to weave humour into such a serious narrative without undermining its gravity. There were moments where laughter erupted at unexpected times – testament to the writing and performances.
Emotionally resonant scenes left me reflecting on not just the fate of a family but also on broader themes of ambition and failure that resonate deeply in today’s world. The tragic downfall of Lehman Brothers serves as a cautionary tale about excess and hubris – a message that feels particularly relevant given recent global economic challenges.
The Lehman Trilogy is more than just a historical recounting; it’s an exploration of human ambition wrapped in masterful storytelling and exceptional performances. While some may find its length daunting, I would argue that it is precisely this depth that makes it worthwhile. It’s a show that invites reflection on our own ambitions and legacies.
The Lehman Trilogy is for anyone who appreciates powerful theatre that challenges intellect and emotion. It’s an experience that will linger long after you leave the theatre – a true testament to what theatre can achieve when all elements align harmoniously.
The Lehman Trilogy is playing until 5 January at the Gillian Lynne Theatre, London.
Why Am I So Single? is the second musical from the creative minds of Lucy Moss and Toby Marlow, the duo who brought us the electrifying Six – a roaring success of a show about the six wives of Henry VIII.
At its core, Why Am I So Single? follows Nancy (Leesa Tully) and Oliver (Jo Foster) – fictionalised versions of Moss and Marlow themselves – as they embark on a journey to create a new musical. The premise unfolds in a meta-theatrical style, where the characters not only grapple with their own loneliness but reflect on their experiences as writers navigating the complexities of relationships. The narrative is peppered with references to classic characters from other musicals, especially Oliver! (for example, a character called Faye Gin). It’s clever and funny at first, although it begins to feel overworked as the show proceeds.
As Nancy and Oliver collaborate on their musical, they find themselves entangled in a series of comedic vignettes that explore their quirky friendship and their thoughts about love. Each scene is punctuated by musical numbers that range from upbeat anthems to long ballads. The show leans heavily into its episodic structure, which feels deeply disjointed.
Leesa Tully, playing Nancy, brings a blend of vulnerability and humor to her role. Her rendition of ‘Just In Case’ is moving and captures the essence of longing and hope that many singles can relate to. I assume Jo Foster, a non-binary actor playing the non-binary Oliver, was having an off-night when I saw them. I thought they lacked charisma, mumbled through much of the performance and couldn’t sing that well. I genuinely didn’t understand what all the critical acclaim for their performance was about.
If you’re seeing this show hoping for another Six, don’t bother. There are a handful of absolutely terrific tracks in there, including ‘8 Dates’ and ‘See You Never’. But the majority are unmemorable and some are just dull. The preposterously bizarre ‘Interlude in B Minor’ immediately before the interval, about a bee getting into Nancy’s flat and everyone running around going ‘buzzzzzzz buzzzzzzz’, was possibly one of the worst moments of theatre I’ve seen.
Was there anything good about this show? There are some genuinely funny moments and, as I said, a handful of rollicking good tunes (in true Six style). The set design is funny and clever – with ensemble cast portraying the items in the flat in which it’s set (such as the fridge and a footrest). But the show is anticlimactic, slow, poorly plotted and too long. With so much else out there to see on the London stage, this one can safely be missed.
Why am I So Single? is playing at the Garrick Theatre until 19 January 2025.
Daniel Barnett practises from Outer Temple Chambers and presents the legal hour on LBC radio.
The Lehman Trilogy has made a triumphant return to London’s West End, now gracing the Gillian Lynne Theatre after acclaimed runs on Broadway and in previous West End seasons. Directed by the renowned Sam Mendes, this production has garnered multiple awards and critical acclaim. The show’s significance lies not only in its exploration of a pivotal financial dynasty but also in its reflection on the broader themes of ambition, legacy and the American Dream.
The narrative of The Lehman Trilogy spans 163 years, chronicling the rise and fall of the Lehman family from their humble beginnings to their eventual downfall. The story begins in 1844 when the first brother, Henry Lehman, arrives in America, setting off a chain of events that will shape the financial landscape. As the brothers – Henry, Emanuel and Mayer – build their empire, we witness their struggles and triumphs through three distinct acts.
The first act introduces us to the brothers as they establish their business amidst the bustling backdrop of 19th-century America. The second act shifts focus to the next generation, exploring familial dynamics and the weight of legacy. Finally, the third act delves into the catastrophic collapse of Lehman Brothers, ultimately leading to a global financial crisis. This sweeping tale is told with a blend of humor and tragedy, making it accessible and deeply engaging.
At the heart of The Lehman Trilogy are three remarkable actors: John Heffernan as Henry Lehman, Howard W. Overshown as Emanuel Lehman and Aaron Krohn as Mayer Lehman. Their performances are extraordinary and showcases a range that spans multiple generations and diverse characters. Each actor adeptly transitions between roles, embodying women, children, and elderly figures with equal conviction.
Krohn particularly stands out with his versatility, as his portrayal of a female love interest is humorous and poignant. The chemistry among the trio is fantastic, enhancing their storytelling as they navigate complex familial relationships. Their ability to deliver comedic moments with impeccable timing adds depth to an otherwise serious narrative.
Sam Mendes’s direction is masterful and employs a revolving stage that transforms beautifully between settings. This innovative design choice keeps you engaged while emphasising the passage of time in the Lehman saga. Es Devlin’s set design is striking yet simple. It allows for imaginative interpretations without overwhelming the story.
Lighting by Jon Clark and sound design by Nick Powell create an atmospheric backdrop that enhances emotional beats throughout the performance. The inclusion of live piano music by Yshani Perinpanayagam adds an intimate layer to the experience, grounding the theatricality in raw human emotion.
Walking into The Lehman Trilogy, I was prepared for an epic tale but was unprepared for how quickly time would fly. Despite its lengthy runtime of nearly three and a half hours, with two intervals, I found myself completely absorbed in the story from start to finish. The pacing may feel slow at times during Act One but it serves as a necessary foundation for understanding the complexities that unfold later.
What struck me most was how Mendes and his team managed to weave humour into such a serious narrative without undermining its gravity. There were moments where laughter erupted at unexpected times – testament to the writing and performances.
Emotionally resonant scenes left me reflecting on not just the fate of a family but also on broader themes of ambition and failure that resonate deeply in today’s world. The tragic downfall of Lehman Brothers serves as a cautionary tale about excess and hubris – a message that feels particularly relevant given recent global economic challenges.
The Lehman Trilogy is more than just a historical recounting; it’s an exploration of human ambition wrapped in masterful storytelling and exceptional performances. While some may find its length daunting, I would argue that it is precisely this depth that makes it worthwhile. It’s a show that invites reflection on our own ambitions and legacies.
The Lehman Trilogy is for anyone who appreciates powerful theatre that challenges intellect and emotion. It’s an experience that will linger long after you leave the theatre – a true testament to what theatre can achieve when all elements align harmoniously.
The Lehman Trilogy is playing until 5 January at the Gillian Lynne Theatre, London.
Why Am I So Single? is the second musical from the creative minds of Lucy Moss and Toby Marlow, the duo who brought us the electrifying Six – a roaring success of a show about the six wives of Henry VIII.
At its core, Why Am I So Single? follows Nancy (Leesa Tully) and Oliver (Jo Foster) – fictionalised versions of Moss and Marlow themselves – as they embark on a journey to create a new musical. The premise unfolds in a meta-theatrical style, where the characters not only grapple with their own loneliness but reflect on their experiences as writers navigating the complexities of relationships. The narrative is peppered with references to classic characters from other musicals, especially Oliver! (for example, a character called Faye Gin). It’s clever and funny at first, although it begins to feel overworked as the show proceeds.
As Nancy and Oliver collaborate on their musical, they find themselves entangled in a series of comedic vignettes that explore their quirky friendship and their thoughts about love. Each scene is punctuated by musical numbers that range from upbeat anthems to long ballads. The show leans heavily into its episodic structure, which feels deeply disjointed.
Leesa Tully, playing Nancy, brings a blend of vulnerability and humor to her role. Her rendition of ‘Just In Case’ is moving and captures the essence of longing and hope that many singles can relate to. I assume Jo Foster, a non-binary actor playing the non-binary Oliver, was having an off-night when I saw them. I thought they lacked charisma, mumbled through much of the performance and couldn’t sing that well. I genuinely didn’t understand what all the critical acclaim for their performance was about.
If you’re seeing this show hoping for another Six, don’t bother. There are a handful of absolutely terrific tracks in there, including ‘8 Dates’ and ‘See You Never’. But the majority are unmemorable and some are just dull. The preposterously bizarre ‘Interlude in B Minor’ immediately before the interval, about a bee getting into Nancy’s flat and everyone running around going ‘buzzzzzzz buzzzzzzz’, was possibly one of the worst moments of theatre I’ve seen.
Was there anything good about this show? There are some genuinely funny moments and, as I said, a handful of rollicking good tunes (in true Six style). The set design is funny and clever – with ensemble cast portraying the items in the flat in which it’s set (such as the fridge and a footrest). But the show is anticlimactic, slow, poorly plotted and too long. With so much else out there to see on the London stage, this one can safely be missed.
Why am I So Single? is playing at the Garrick Theatre until 19 January 2025.
Reviews by Daniel Barnett
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