The Lehman Trilogy the Tony Award winning play that at three and a half hours never comes close to wearing out its welcome. Originally conceived as a nine hour Italian radio play and later a novel by Stefano Massini, it was first translated and adapted to the French stage as a five hour play by Pietro Pizzuti featuring a cast of 12. The English adaptation is by Ben Powers and was conceived with theater and film Director Sam Mendes for the National Theatre with only three actors. This version which is the one the Guthrie is presenting leaves you with one question, what was cut from the five hour and 9 hour versions? I think it a wise choice commercially to have gotten it down to three and a half hours, which includes two 15 minute intermissions. But personally, if the cut material was as good as this, I could have done another hour and a half. I never once looked at my watch, and that’s not just because I don’t wear one, I honestly never had a moment where I was conscious of the length, it flew by. I write a lot about the shows that are just entertaining. I believe in the current climate of the world and given the state of theater audiences in the last few years, that it’s vital we put on shows like Back to the Future (Hennepin Arts, National Tour), Peter and the Starcatcher (Lyric Arts), and Dial M for Murder (Yellow Tree Theatre) that are more or less purely there to entertain us. I also believe in the power of theater to explore deeper issues, and important that those plays are also produced.

That is the type of play The Lehman Trilogy is. It explores the rise of a financial institution, but that’s just the tip of what it’s about. We follow three immigrant brothers who have come to America to make their fortune. As it begins, there’s a strong familial bond between the brothers, and their Jewish faith plays a central role in their endeavors. We like them, in fact to some extent I think we like all of the Lehmans we meet throughout the play. While the arc of the play shows us the growth of Lehman Brothers from a small, fabrics and suits store to a financial institution, the way in which the business grows and changes. At first the growth and evolution of Lehman Brothers is admirable and the reverence the three founding brothers Henry, Emanuel, and Mayer have for their religion and community plays a key role. Even up through the great depression when Bobby Lehman, the last Lehman to run the company, is strategizing how to save the company he is also trying to save the country. But that will change as Bobby ages, we see throughout the play that as capitalism rises, the role of religion not only recedes, but is entirely replaced by the worship of the dollar. The whole play barrels forward like a rock gaining speed as it rolls downhill. What was thoughtful and deliberate in the beginning is overcome by greed and speed. There’s a moment when Bobby hears the pitch of what will become Credit Cards, and the birth of consumerism as a way of life, when you feel the scale finally tip and what began as a family business has lost all of it’s remaining humanity. What was fascinating about the The Lehman Trilogy was the way it looks at history and the birth of financial practices in such a way that we come to understand it all from a different perspective.

The cast features two performers from out of town, which I’d complain about but they are so good that I can’t quite bring myself to, and one local actor. The local actor is Will Sturdivant, last seen at the Guthrie in last springs the History Plays. This is a year in which Sturdivant seems to be testing his stamina. Between the three performers they play over 70 characters over the course of 80 years. All three are versatile and bring intelligence and humor to the roles. Director Arin Arbus keeps the story moving, but perfectly anticipates the moments when we are so completely enthralled in what is happening and need that extra beat to process what is transpiring. Marsha Ginsberg’s set design is simple but symbolic and capable of surprising the audience right out of the gate with the appearance of the three original Lehman Brothers. The set works wonderfully in conjunction with Hannah Wasileski’s projection designs through which we get backdrops but also visual manifestations of the dreams that often dog the members of the Lehman family. In fact the entire production team Anita Yavish’s Costumes, Yi Zhao’s lighting, and Michael Costagliola sound design all work to create a cohesive look, almost a black and white or sepia tone film look.

The Lehman Trilogy runs through October 13th at the Guthrie Theater in Minneapolis. For more information and to purchase tickets go to https://www.guthrietheater.org/shows-and-tickets/2024-2025-season/the-lehman-trilogy/

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