When I went to see The Lehman Trilogy at London's National Theatre, which had quickly become the "must-see" play that season, I was hoping that I had consumed enough caffeine to make it through a three-hour story about the Lehman Brothers financial empire, which sounded pretty deadly. I was riveted and deeply engrossed from the moment the three brothers from Bavaria arrived in America in search of a new life, through the collapse of the firm they established, which triggered the largest financial crisis in history. The theatrical storytelling that followed the fortunes of this singular immigrant family moved like a good binge-worthy series where you don't want it to end. And with so much to think about!

The original "play" was a nine-hour long epic poem by Stefano Massini, with no suggestions as to which characters spoke what lines. Ben Power, National Theatre's Deputy Artistic Director, collaborated with director Sam Mendes to adapt the poem into what would become The Lehman Trilogy, featuring three actors playing multiple characters over a span of 164 years, and telling the story of a family, the history of capitalism from the 1840's to now, and how the structures we live in were built.  

In rehearsal we asked why did this particular story compel an Italian writer? Stefano Massini was nine when his father saved the life of a Jewish employee in his factory. The worker asked his boss what he could do in return for saving him. When Massini’s father complained that young Stefano was a terror, the employee said he would enroll him in his synagogue’s religious school. Stefano studied in an Italian school in the morning and at the synagogue in the afternoon, where he had his first exposure to theatre in the synagogue basement. For him, the Jewish world, Jewish culture, Jewish literature is the language of theatre, and of invention, and that is the reason his books are so full of Jewish culture as an outsider. The play deals not only with the Lehmans’ Judaism, but also with their status as outsiders. 

For ZACH's production, scenic designer Sotirios Livaditis and I landed on an opulent bank vault, like those found around Wall Street in the previous century, with deposit boxes lining the walls that hold the valuables, secrets, treasures, hopes, and personal artifacts of multi-generations of Americans. Look for the subtle shifts each act in the brother's shirts, ties, and vests that take us into a new era of the Lehman legacy through Susan Branch Towne's design. The London production was underscored by a live pianist, and for our production I wanted to honor the rich klezmer musical traditions of this Jewish immigrant family with authenticity, and I could not be happier to have Samantha, Dylan and David of Austin's own Mazel Tov Kocktail Hour join us to enrich our story from the moment you arrive in our lobby.

DAVE STEAKLEY, Producing Artistic Director
JAMIE HERLICH, Managing Director

THE LEHMAN TRILOGY

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
** Member of IATSE 829   

This is a play in three acts. There will be one 15-minute intermission and one 10-minute intermission. Drinks and snacks are welcome in the theatre.

CAST

Peter Frechette*..............................................Henry Lehman 

Susan Lynskey*...............................................Mayer Lehman 

Nick Lawson*..............................................Emanuel Lehman 

Chandler Krison........................Henry/ Emanuel Understudy 

Miranda Marquez........................................Mayer Understudy

MUSICIANS

David Ansel .......................Cimbalom, Tenor Banjo, Mandolin

Samantha Goldberg.............Flute, Penny Whistle, Xylophone

Dylan Blackthorn...................................................... Accordion

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

*Actors’ Equity Association, founded in 1913, represents more than 49,000 Actors and Stage Managers in the Understudy Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. Equity seeks to foster the art of live theatre as an essential component of our society. actorsequity.org

PHOTOS AND VIDEOS
The videotaping or other video or audio recording of this production and the taking of photographs, with or without flash, or by camera phone, is strictly prohibited. Please turn off all electronic devices — such as cell phones, pagers, etc. — and refrain from texting and/or tweeting during the performance.

TAKING PHOTOS IN THE THEATRE
Audience members may take photos in the theatre lobby before and after the show and during intermission. If you post photos on social media or elsewhere please credit the production's designers.

SCENIC

COSTUMES

LIGHTING

AUDIO & VIDEO

PROPERTIES

STAGE OPERATIONS

ADMINISTRATIVE