Money, pop singing, everything changes, and the like. BroadwayThat’s great The Lehman Trilogy. So brilliantly shows, everything means. everythingFrom the most private of personal situations – even if you have enough cash (or even a suggestion) – to sweep the great broom of history.
And did Lehman ever have enough cash (complete this statement with a non-Arabic mark or a question mark, and it works anyway). The brothers Henry, Mayer and Emmanuel Lehmann – whose names were taken from the original German by the American German immigration gatekeepers – arrived on shores a decade before the Civil War that could not fit in a suitcase. Their destiny will be to build a country, to finance its achievements, to finance its greatest sins, and to bring the world closer to destruction more than once.
Directed by Sam Mendes with amazing grace and ease, the Stefano Messini drama, adapted by Ben Power and based on Messini’s novel, is perhaps the only effective display of imaginative theater storytelling ever since. Angels in America. Landing on Broadway in 1993, their shared ambitions, breadth of style and substance, and deep joy in innovation brought to mind a comparison that turned everything on stage into a magical demonstration. TheaterProspects.
To get started: The National Theater Production opens tonight at the Theater of the Netherlands with the arrival of a lone figure – Henry Lehmann, played by Simon Russell Bell, but more on the cast soon – Dressed 19th century Jewish immigrants. In fact, Henry is the second person on stage – in a very short presentation, a janitor clears office trash in 2008 that will be left in the context of everything we’re going to observe, everything Ellis Island It starts with arrival. Of Henry Lehmann
In a detail that would be simplified to a ridiculous degree, the set is a transparent cube, a glass-like square that will handle everything from the Alabama country store to the Wall Street giant’s cloud-touching offices. ۔ Cardboard file boxes will be replaced, stacked and rebuilt to accommodate any number of structures and settings, and video projection (designed by Luke Halls) of cotton fields and skyscrapers. During the era of slavery in buildings, land and water, wars, accidents and computers
Henry arrived alone on Ellis Island, 10 pounds lighter than when he embarked on a 45-day voyage and was wiser than ever in the ways of the world and could have been obtained earlier in the village of Ramper in Germany. Within three years it has opened a small dry goods store, everywhere, in Montgomery, Alabama, to care for the poor, caregivers, anyone in need of clothes strong, durable and cheap.
In short, Henry is accompanied by younger siblings Emmanuel (Adrian Lester) – the “arm” of Henry’s “head” – and Mayer (Adam Goodley), the baby’s brother, sarcastically named Spade because of his face. Smooth like peeled potatoes. Mayer, as he admits, mostly works to separate the other two: “So the arm doesn’t crush the head and the head doesn’t humiliate the arm. That’s why he was sent to the United States.”
Mayer’s middleman position will take on unexpected value and significance and will provide a kind of symbolic basis for the role this new business will play in shaping the economy of the 20th century: Will invent Known as investment banking. He will briefly become a middle man, connected between the makers and the sellers.
How the brothers (and their descendants) accomplish this feat is told in three and a half hours, going beyond the blood-soaked years of the old South, when Lehmann went from selling cotton cloth to selling cotton himself. Moved His fortunes as reconstruction brokers, and in the stock market era of the early 20th century, his crash in 1929, as World War II profits and sales imagining , When marketing executives first showed the Lehman family and then the world the idea of selling the most profitable item. Or rather, the idea of buying, which Lehman and his colleagues will convince the world of, is the same as the idea of living.
Sounds heavy, right? But the miracle. The Lehman Trilogy. Not only sound education but his alertness and dedication too are most required. The three actors not only play the role of real brothers, but also in large numbers – in families and in other cases – who have been following for decades. In a clever move that allows both the arc of history and the most private revelations of ideas, the story is mostly told in a third person, so we hear Henry introduce himself as follows:
“He was dreaming of America. Son of cattle trader, A circumcised Jew, With only one piece of equipment, The telegraph stood still like a pole. At Post No. 4 in New York Harbor. Thank God he came. Barch Hashim! Thank God he’s gone. Barch Hashim! Thank God he is in the United States now, after all. Barch Hashim! “
And here we are told about the beginning of the Civil War, as Mayer first saw it in Alabama and then Emmanuel in Manhattan:
Mayer: “The first artillery shelling of the Civil War woke up Mayor Lehmann in Montgomery. His first thoughts are for a stockpile of cotton. He opened the window: Montgomery has gone wild. Cotton states claim independence.
Then Emmanuel: “The first cannonball of the Civil War wakes up Emmanuel Lehmann in New York. His first thoughts are for his buyers! He goes to the window: New York has gone wild. People are celebrating in the street. Are: End Slavery Now: Constitution and Rights!“
And decades later, here we meet a non-Lehman character, a stockbroker named Teddy, whom we briefly meet for the first and last time on October 24, 1929:
“What if everyone just wants their money back instead of other stocks? What if everyone stopped believing? What am i going to do Teddy locked himself in the bathroom. One pill A stimulus One shot “
And so it goes, one interesting character, one indelible performance after another, each claiming to be the most unforgettable of the play until the next one arrives. Among the first equations: Robert “Bobby” Lehmann, Prince Hall of the story who begins his history as a free-thinking, art-loving Yali, confronts the challenge of depression and ultimately the foundation of destruction. The idea of not selling anything in the 1960s when he is affected by it.
Bobby, like Meyer, plays Godley – the actors dressed in their 19th-century costumes, as if carrying ghosts and legacies from one era to another – and the characters and actors in the most thrilling moments of the evening. Is responsible for one of, when old Bobby, the last of the real siblings and anxious to be young, does a twist dance according to the details of the 1960s. He turns and turns as his body grows old, his voice is demonic. “He dances like crazy,” says Goodley Bobby, breaking without taking a step. “He dances so hard that he doesn’t feel it when the earth comes to meet him. He doesn’t feel the music stop. He doesn’t notice that the last Lehman died while doing the twist dance.”
It seems unfair to highlight this scene, however, since then. The Lehman Trilogy. There is a never-ending series of such glitters, and each of them is performed flawlessly by a remarkable cast of actors, all imported from the original London production except Leicester. Each actor builds a population of his characters with an accuracy that bundles each Lehman (and every non-Lehman who enters the Lehman world) into a completely entwined, self-made ambition and fear and loyalty and greed. ۔ It’s working magic.
The cast is helped – although help is a very weak word, so it’s better to say the same – a team of master stage workers from the top mendes of their games, for whom Lehman Pointing to an artistic peak is sound designer and composer Nick Powell, who has written beautiful piano scores (as an expert, pianist Candida Caldicott sitting quietly between the audience and the stage) John Clark’s lighting design, Katrina Lindsay’s outfits (keep an eye on these long black coats as they are versatile for decades and genders) and S. Doylen’s instantly famous spinning cube set.
And another noteworthy video is worthy of designer halls, whose estimates shoulder the supply of time and space while simultaneously providing an artistic statement that allows one to easily imagine one’s exhibition at the Museum of Modern Art. ۔ It’s a thrilling word, as we see a terrifying sight of a statue of freedom and loneliness in New York Harbor, or a terrifying rapid ascent, which are towering skyscrapers that are particularly terrifying to Lehmann’s sleep. Annoying at night.
The terror we know from the beginning is well established. At some point they are all cardboard boxes and monumental buildings and glass offices, symbolically, literally and finally. Even the most educated experts in financial history will be amazed at how, of course, Lemon’s fall is revived. Comes what he and his brothers want to create. Like nineteenth-century immigrants, Mendes, Messini, Power and their team of artists have rocked the world through sheer imagination and insight Is. We can’t be distracted by magic.