Bath’s Theatre Royal is currently presenting the illustrious world premiere of The Score, a new play by Oliver Cotton, directed by Trevor Nunn and starring Brian Cox.
Stephen Hagan as Frederick, Peter De Jersey as Voltaire and Brian Cox as Bach in The Score | Photo © Manuel Harlan
With names like these involved, expectations are high.
The plot revolves around a real-life visit by composer Bach to the Potsdam court of Frederick the Great, King of Prussia, in 1747.
Bach is reluctant as he is violently opposed to the War of Austrian Succession which Frederick has launched, but attends due to a combination of vanity and the opportunity to see his son Carl, who now works at the court as concert harpsichordist.
But Frederick has decided to test the renowned composer with an unusual musical challenge, upon which the stakes become increasingly high.
If this sounds like a concept of niche interest mainly to fans of Prussian history, Baroque music and the Age of Enlightenment – well, it is in the first act, as the groundwork is set.
But in act two, the gloves are off as Bach finally confronts Frederick in a row dealing with many issues which are sadly all too relevant today (the Israeli-Palestinian conflict shows how little times have changed).
This is a very wordy play of ideas and debate – on war, ethics, responsibility, religion – but wrapped up in a family drama with a liberal dose of humour.
Trevor Nunn’s sumptuous production is confident and slick, aided greatly by Robert Jones’ design (a revolve draws us swiftly from home to palace, while walls, columns and huge paintings appear magically when needed), Johanna Town’s atmospheric lighting design and Karen Large’s supervision of opulent costumes (Frederick’s in act two is a dazzler).
Brian Cox is clearly the “draw” name here, and his Bach is a compelling cauldron of irascibility, tenderness, elegance and vulnerability.
But Stephen Hagan as his opponent is an excellent match, initially frivolous and flashy, but developing genuine steel in the second half.
Matthew Burns as Bach’s loyal son is utterly credible, empathetic and poignant, balancing Carl’s devotion to his father with his loyalty to his employer.
Dona Croll gives us a beautifully dignified Emilia, whose fifty-year employment at the court is not without its own conflicts, whilst Peter de Jersey is an entertainingly posturing Voltaire
From a visual point of view, The Score often feels reminiscent of Amadeus, but it very much stands as its own piece, presenting arguments which will leave you debating long afterwards. And that, surely, is what theatre should be all about.
The Score is showing at Theatre Royal Bath until 28th October. Box office: 01225 448844
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Reviewer: Steve Huggins
