The Lehman Trilogy, Shakespeare Theatre Company, Sidney Harman Hall, Washington, DC

 

Edward Gero, Mark Nelson, and Rene Thornton Jr. in The Lehman Trilogy, produced by Shakespeare Theatre Company. Photo credit: Teresa Castracane Photography.

“Epic” is a word I mostly think of as something episodic, giant, sweeping, and larger than life, so to use it to describe the Shakespeare Theatre Company’s current three-actor play, The Lehman Trilogy, may seem an odd choice. But despite the small number of actors involved, the play is sweeping in terms of the events and personalities involved. Its length (a bit more than three and one-half hours, including two intermissions) and the density of its often-poetic language, does, in fact, take on epic proportions, portraying events from the 1840s to the early 21^st century.

“Lehman Brothers” as a financial entity attained its greatest prominence by its failure, becoming synonymous with the 2008 financial crisis due to its bankruptcy, the largest in U.S. history. But “Lehman Brothers” was more than just a name on a giant corporation, it was an homage to the company’s humble beginnings and the three Jewish immigrant brothers from Bavaria who created it. Henry comes first, in 1844, settling in Montgomery, AL, and establishing a thriving business selling fabrics and suits as “H. Lehman.” When brother Emanuel arrives in 1847, the company is “H. Lehman and Bro.” When brother Mayer arrives in 1850, the company becomes “Lehman Brothers.” The company begins dealing with raw goods, accepting raw cotton for purchases from plantation owners and selling it to customers in the north, serving as something of a “middle man,” and eventually moving their operations to New York City and establishing a bank. (No mention is ever made by the brothers regarding the fact that the plantation cotton is being produced by slave labor. Whether it was ever a concern is unclear; if it was, it appears that the Lehmans were willing to overlook it.) The American Civil War provides the company’s first great set-back, but the brothers expand into other areas, including coffee and tobacco, becoming instrumental in the establishment of the New York Stock Exchange.

Eventually, non-family members are added to the company as subsequent generations (sons and grandsons) of the three Lehman brothers take the reins, moving the company into new technologies and maneuvering through the Stock Market Crash of 1929. Ultimately, in 1969, Emanuel’s grandson Robert Lehman died, the last remaining family member involved in the company’s leadership. Would the company’s fate have been the same if there had been continued family involvement? We can only speculate. (And speculation, of course, was one of the issues leading to the Lehman Brothers bankruptcy.)

Understanding and following this industrial history is somewhat beside the point. What involves us in this play are the small details of interactions between the characters as executed by three versatile actors, each appearing as one of the original brothers (Henry, Emanuel, and Mayer) and those with whom they interact, including their offspring, partners, and their girlfriends/wives. The actors establish and maintain the throughline of the play, often stepping out of their characters to narrate events or describe their circumstances.

Mostly, it is the interplay of the actors and their characters that maintains the audience’s attention for the length of the play. Edward Gero, whom I last saw as Roy Cohn in Arena Stage’s Angels in America, commands the stage as Henry (and Others). It falls to Gero to provide the background of the family in Bavaria and his initial immigration to the United States, in a lengthy monologue that begins the play. Henry dies not long after the third brother arrives, but Gero remains a steady influence on the action, even appearing as a flirtatious woman in a couple of instances. Rene Thornton Jr. is commanding as Emanuel (and Others), who is especially ambitious in moving the company to new endeavors. Mark Nelson as Mayer (and Others) mines humor from his roles, sometimes appearing as (or voicing) a baby or toddler or an unsuspecting woman being judged as a possible wife for a Lehman. Mayer is referred to by his brothers as “Spud,” since they claim that his head resembles a potato. The nickname provides needed levity.

Rene Thornton Jr., Mark Nelson, and Edward Gero in The Lehman Trilogy. Photo credit: Theresa Castracane Photography. 

The three actors play beautifully off one another as they move from character to character, in some instances with the slightest of visual or vocal cues and maintaining a performative energy well into the final moments of the play. Arin Arbus directs with great attention to detail, making effective use of Marsha Ginsberg’s scene design that is part realistic and part abstract. Hannah Wasileski designed the projections, which are used to great effect in helping to establish locale and time period, adding to the impact of Yi Zhao’s lighting design. Michael Costagliola contributes an unobtrusive and subtly suggestive score and sound design. Costumes are designed by Anita Yavich.

I find it fascinating that this very American story of immigrants, who overcome hardship to become prosperous and pass on their prosperity to subsequent generations, was written by Italian playwright Stefano Massini and adapted by the British associate director of London’s National Theatre, where it was first performed.

The Lehman Trilogy has been extended through March 30. It offers a rare opportunity to see three actors at the top of their game in an engrossing epic play about past events that presents striking parallels to contemporary events.

Rene Thornton Jr., Mark Nelson, and Edward Gero in The Lehman Trilogy. Photo credit: Teresa Castracane Photography.