‘A universal tale affirming human dignity' may seem strange billing for a play about one of the wealthiest banking families in history, but that’s what Jerry Bock and Sheldon Harnick create in Rothschild and Sons.The story is of Mayer Rothschild and his family rising from hardworking peddlers in an 18th century Frankfurt ghetto, ultimately climbing to financial power and political influence using keen wit and economic prowess. Mayer passes on his business acumen to his five astute sons, dedicated to lifting them out of oppression in a musical event that documents their legendary rise. He is a patriarch who teaches his sons to use a combination of caution & courage and ultimately they risk their fortune in the name of freedom.
It’s a loving portrayal of the Rothschild family’s rise to riches, in spite of the persecution they faced from a so-called civilised world. The direction may be too loving; the delivery is sometimes slow to make the point too worthy, with too many emphatic builds to over-earnest climaxes. In spite of being about the superrich, this is also a love story that celebrates the devotion of a father to his wife and their sons. The family bond is beautifully portrayed by Robert Cuccioli and his boys throughout; the singing is gorgeous; the relationships between the sons themselves are distinctive and believable. The standout musical number for me as the hypnotic ‘Everything’, both stirring and memorable, effectively choreographed by Denis Jones to evoke spirited tradition.
Cuccioli as Mayer is touching, authentic and strong, although outstanding performances also come from a superb Gary Trainor, convincing as Nathan, the risk-taking son who most resembled his fathers gutsy ambition; and Tony Timberlake, immensely enjoyable to watch in his various guises as eccentric Princes.
Special mention goes to Rebecca Brower, Louise Rhoades-Brown and Jack Weir for superb design, lighting and projection that are among of the stars of this minimalist production. Costumes by Pam Tait are also impressive – plenty of sumptuous changes for the women. It doesn't last one hundred minutes as we are told – the running time is actually two hours. History fans might enjoy it more than lovers of epic musical theatre.
It’s a rare treat to care so much about characters in a play. Watching Beginning in its transfer to Ambassadors Theatre was just such treat and it’s as much about the two utterly engaging performances as it is David Eldridge’s tender writing.