The premiere of the theatralised creation mythos of the famous Rothschild banking clan has reached the UK on the 24th of January, an intriguing and unique take on the start of one of the most renowned and wealthy families in known history. Though the true origins of one of the world's most influential banking firms is shrouded in hearsay and secrecy the focus on the familial ties of the family and their unity in the face of bigotry creates an uplifting and life-affirming atmosphere.
Written by the Broadway geniuses of Sheldon Harrick, Jerry Bock and Sherman Yellen; the play recounts the rise of the ambitious coin-peddler Mayer Rothschild (Robert Cuccioli) and his wife Gutele (Glory Crampton) through the ranks of Napoleonic-era German society thanks to Rothschild’s resourcefulness in establishing contact with the local prince (Tony Timberlake) whom he met one day whilst selling his numismatic wares.
Things pick up swiftly from there as the birth of 5 sons and a successful friendship with court administrator Budurus (David Delve) means Mayer opens up a proper shop and establishes himself (and his 5 sons) as bankers to the court. The invading Napoleonic armies which come as an off-stage presence hereafter and the subsequent flight of the court leave the Rothschilds free to collect the debts of the court for themselves and invest them into their own business.
This leads to resounding success with the high-point of their careers being the offer to finance British armies during the 100-day campaign following the return of Napoleon in exchange for repayment with a steep interest rate and an agreement by which all the crowned heads of Europe would tear down the ghettoes in their cities (an issue central to the family and the play). And although this in the end fails, the end has a positive note as the legacy of Mayer lives on through his sons, who pledge to combat the restrictions and to despite their riches always take care of their family.
It is an excellent production with a tone and text that is both cheerful and hopeful and at the same time subtly forces its audience to reflect on issues that are important even today, such as the power of wealth in the face of bigotry, the importance of family and whether ambitiousness is a worthy trait.
The central overall theme and in fact the lens through which the events are shown, is the intimate bond between Mayer Rothschild and his five sons; Amshel (Tom Giles), Salomon (Richard Dempsey), Kalmann (Kris Marc-Joseph), Nathan (Gary Trainor) and Jacob (Stephen Webb); which despite significant changes in the status and wealth of the family manages to hold firm, and to subvert expectations that jaded audiences will have towards the effect of money on the integrity of families.
The most memorable aspect of the play was the character development which stands out thanks to the brilliant skill of the actors, with the petulant and puerile Nathan Rothschild first shifting into a hot-headed daredevil harnessing the London markets and then after his father’s death into an ambitious yet ultimately loving and caring character. There however is a character arc which specifically stood out to me, thanks to the powerful acting of Glory Crampton, which despite a hopeless relative shortage of stage time and lines, is the arc of Mayer’s wife Gutele, from a house-wife whose contentment with the Status Quo and lack of ambition forms a major plot-point, to a scheming widow with grand ambitions who at the same time retains the characteristics that made her human and relatable, such as the love towards her children.
And although the character of Mayer Rothschild suffers little to no change, this is very much the intent of the play and a hallmark of the excellence of Robert Cuciolli, as he fills the role of both resourceful businessman and father to his sons without losing anything from either role. His character also serves to form a major part of the uplifting tone by staying loyal to his family even after (in a very moving scene, where he announces his will to his sons) his own death.
A word must be left aside for the excellent repertoire of songs which this play boasts, both creatively written and with infectious melodies, they demonstrate that despite popular belief, musicals are very much alive in the modern era. The sorrowfully anxious solo, “Just a map” sang by Glory Crampton after sending off her sons on business through war-torn Europe, vividly evokes the stress that is felt by parents when sending their sons into danger, with a stirring theme of the meaninglessness of possessions in comparison to the presence of loved ones being evoked repeatedly.
Overall, this is an excellent play despite several blemishes such as the relatively short stage-time of Gutele and the slight lack of depth regarding contemporary European politics and major events. It is definitely worth a look if only for the memorable songs, subtle humour and the Bildungsroman-fell of the evolution of the Rothschild sons from wacky youngsters into serious gentlemen.
