Lehman Trilogy - NT / Gillian Lynne

Thought this was very good. Wasn't sure I'd take to the style, but I felt they managed it really well, and the cast are all excellent. Last act is weaker, but thought that was more because it largely involved characters who were far more sketches than the fleshed out ones at the start. Didn't feel the length at all. And I don't really agree about the absence of slavery as a topic at the start since its pretty clear from what was presented that they strongly supported the plantation owners, and it was also obvious that this meant supporting slavery as well. Just as well this was good, or else my two months without any theatre would have been broken by a poor run over these last two days....

Saw this tonight - front row. My initial fears of the goliath Lyttleton stage overpowering 3 performers was gone as soon as the curtain rose. The direction and acting is so superb that it feels as intimate as the Dorfman at times (although this is probably felt less further back in the auditorium). I really enjoyed it and did not feel as if it dragged at all. Fantastic acting, gorgeous set and projections. It felt like a privilege to watch the actors perform. Bargain at £7.50 with EntryPass.

Question - how do the National sort out the ensemble of bankers right at the end of the play? Logistically I'm not sure how it works. Do they have a group of 15 actors just hanging around the National all day? Are they paid for just their 1 minute of performing time?

Similar thing with the credited Janitor right at the start of the play. On stage for 30 seconds when the curtain rises, and then on stage for 1 minute nearly 4 hours later as part of the banking group. Does this guy just have the best job in the world? I saw he is credited as being an understudy too - is he on standby during the show?

So the janitor has to learn all three parts? Wow! Earns his wages, then.

I found this deeply underwhelming, a dramatically inert 'one ****ing thing after another' history of a banking family that had zero emotional resonance and taught me nothing worthwhile. I don't know whether the trope of repetition to distil successive incidents or to hammer home character quirks was in the original or inserted by Ben Power, but I found it almost as irritating as the inexplicable amusement it continued to cause the over-laughers in the audience, even at its 25th outing. The performances were admirable, but more as feats of memory than of acting, with SRB's performance in particular seeming to be just a series of 'turns'. Godley fluffed a line mistaking his son for his brother, but easily done - I didn't care which generation of the Lehmans I was watching either.

I enjoyed this a lot and even joined the standing ovation - for the acting mind. However, it was far too long, and repetitive. Also, I am not a big fan of the “tell rather than show” approach to the play which distances you from the story. Maybe that was one reason I didn’t “get” The Inheritance as much of others, but that’s another story.

It still worked well in the moment given the excellent acting, a surprisingly simple but effective set, so a deserved hit for the National.

Yep, I'll have it please...

Hope it does better than "Enron" did!

The Lehman Trilogy will transfer to New York, to the Park Avenue Armory, for a limited season in March 2019

Park Avenue Armory, in collaboration with the National Theatre and Neal Street Productions, will present the North American premiere of The Lehman Trilogy, by Stefano Massini, adapted by Ben Power, directed by Sam Mendes at the Wade Thompson Dill Hall, Park Avenue Armory, following a sold-out run at the National Theatre from 22 March – 20 April 2019. Adam Godley, Ben Miles, and Simon Russell Beale will reprise their critically-acclaimed roles.

Saw this last night and loved it. One of the best pieces of storytelling I've ever seen on stage - bravo to the whole creative team for taking a subject matter that I honestly have almost no interest in and turning it into such an engaging piece of theatre. The three actors are simply sublime, full of charisma and each of them has the audience in the palm of his hand. Brilliant design - I always love the 'less is more' approach - and the pianist was a lovely touch too. Plus they had a revolve so that's instant bonus points in my book. God I love the NT.

Probably going to be returning a pair of £15 tix for this (matinee Wed 17 October), too, as I didn't want to see it in the first place and only booked when OH belatedly expressed an interest but now he may not be well enough.

When I was at the NT recently during a performance I was interested to note that they appeared to be showing the entire play on a tv monitor in the foyer. I've never noticed this before so wonder if it's a new development? I know some theatres do this for latecomers until they are able to creep in at a suitable moment, but for the whole performance? One enterprising lady had pulled up a chair and seemed set to stay for the duration but that can hardly be what the NT intended as there is no seating in that area and people congregating there would cause an obstruction.

They've been there ages I think? I don't think they are left on for the whole performance, usually off after the interval. Or maybe after the first latecomers' point after the interval. Presumably on for longer during Lehman Trilogy due to the two intervals?

Fantastic news, I loved this, although I know it didn’t find universal praise here. Can’t help feeling that it might struggle for a West End audience, although I’ll happily see it again. Just wondering whether the short NY run is designed as an advert to next summer’s American tourists...