Review: THE LEHMAN TRILOGY at ZACH

Wow. Get thee to ZACH quick. This weekend is the last for the epic THE LEHMAN TRILOGY. This work by Italian playwright Stefano Massini, chronicles the history of the Lehman Brothers firm from its inception in the mid-19th century to its dramatic collapse in 2008. The play explores themes of capitalism, immigration, and the American Dream through the lens of the Lehman family's journey and the company's evolution. The play was adapted for the stage by Ben Power and premiered at the Piccolo Teatro in Milan in 2015. This version of the play was performed in Italian and directed by Luca Ronconi.

The English-language adaptation of the play, translated by Ben Power, premiered at The National Theatre in London in 2018. This production was directed by Sam Mendes. Following its success in London, "THE LEHMAN TRILOGY" transferred to Broadway, opening at the Nederlander Theatre in March 2020. However, the run was interrupted by the COVID-19 pandemic and resumed later, receiving critical acclaim for its performances and production design.

The play has an innovative structure, divided into three parts, each focusing on different generations of the Lehman family. The show boasts a cast of three incredible actors (Peter Frechette, Susan Lynskey, and Nick Lawson) who portray multiple characters, emphasizing the interconnectedness of the Lehman family and their legacy.

It’s a grand piece of three act theatre, clocking in at three and a half hours with three actors playing each character squeezed into the Lehman family’s 164 year history. There are also three ways of looking at the play, according to a piece written by Drew Lichtenberg found in the program for the show: It’s a “family drama about the American Dream (check) as a present day Shakespearean History Play (check) and a modern day Greek tragedy (check).” For this reviewer, Greek tragedy rang most true. The play serves as a cautionary tale about the dangers of unchecked ambition and greed, similar to the moral lessons found in Greek tragedies. Additionally, it prompts us to reflect on the moral and ethical dimensions of capitalism and the consequences of prioritizing profit over human values. But mostly, it is in its flawless execution that I found the great scope of a Greek play.

A quite pedigreed Sotirios Livaditis gives us a massive and gorgeous bank vault of a set for the actors to work with. It surrounds them with what we imagine to be the valuables of those whose money the Lehmans used to build a financial empire. This also proves to be a rich backdrop from which Benjamin Gantose creates a stellar lighting design. It is within this opulent bank vault set that three brilliant actors serve as both chorus and character for three full hours of riveting storytelling.

Peter Frachette is sublime in general, particularly as the staunch Henry and wily Philip. Nick Lawson’s Emanuel is delivered with flair, and Susan Lynskey (who is a welcome presence as a woman in a play all about men) plays Mayer with perfection. In fact, all of the over fifty roles these three actors play are beautifully performed while maintaining a sharp awareness of presentational theatre. And on this note, I might point out the exceptionally skillful work of both Lynskey and Frachette who play the opposite gender as a romantic pair at one point in the play. My unquestioning engagement in their work is a testament to their skill, and to Steakley’s choices as a director. In this article Mina Samuels addresses the patriarchal nature of THE LEHMAN TRILOGY and it is to Steakley’s credit to cast a woman in this decidedly patriarchal piece. 

Steakely also deserves a good deal of credit for directing this opus. I find the highest credit goes to a director whose work remains invisible in a representational play, but this is a presentational play, and Steakley’s direction is gorgeous. It is perhaps made most evident in the snappy second act, particularly in a bracing scene where we see what might be defined as a 19th century version of speed dating. 

All the elements of a perfect play are in this terrific show. THE LEHMAN TRILOGY isn’t fluffy entertainment. It is provocative, sharp, flawless, impeccable theatre. The show closes on July 7th, so once you’re done celebrating Independence Day at the pool, pack it up and catch an outstanding show about a Jewish immigrant family who took full advantage of the American dream.

THE LEHMAN TRILOGY

by Stefano Massini

Directed by Dave Steakley

Zach Theatre

Topher Mainstage

1510 Toomey Road

Austin, TX, 78704

June 19 - July 7, 2024

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