It wasn’t so long ago that Londoners were treated to seeing Brian Cox on stage in Long Day’s Journey Into Night at the Wyndham’s, and now thee talented actor has returned to the capital, following a stint in Bath, with The Score at Theatre Royal Haymarket.
This is a compelling historical drama exploring the charged encounter between two towering figures of the 18th century: Johann Sebastian Bach and Frederick II of Prussia. Written by Oliver Cotton and directed by the legendary Trevor Nunn, this production showcases the best of character-driven storytelling, bolstered by the commanding presence of Brian Cox in the lead role.
Set in 1747, the play explores the ideological clash between Bach, a devout Christian and pacifist, and Frederick, an atheist and militaristic ruler steeped in Enlightenment ideals. The story unfolds as Frederick challenges Bach with a complex musical puzzle, an act that serves as both a test of genius and a symbolic confrontation of their opposing worldviews. The script balances intellectual rigor with emotional depth, making for a richly layered theatrical experience.
Cotton’s script is strong, but it does take its time. Most of Act I is setting up the story, showing off JS Bach’s compassionate and benevolent nature, and family life (with Nicole Ansari-Cox as Anna) while dropping hints about the opposing character of Frederick. It’s not until Act II that we really get to the heart of the story, and begin to see what makes these characters so compelling.
Brian Cox delivers a masterclass performance as Bach, capturing the composer’s inner turmoil and unyielding principles with gravitas and nuance. His portrayal is both fiery and introspective, drawing the audience into Bach’s struggle to reconcile his faith with the demands of a world in flux. Opposite him, Stephen Hagan as Frederick II is equally compelling, embodying the monarch’s charisma and ruthless ambition. Their onstage chemistry crackles with tension, making their verbal sparring utterly captivating.
There’s a surprising amount of humour woven through The Score, Peter De Jersey delights the audience as Voltaire, but what’s lacking (just as surprisingly) is music. Certainly we hear Bach play the piano, but it feels like those wonderful compositions could have played a much bigger role.
Trevor Nunn’s direction ensures that every element of the production serves the story. The staging is suitably period if functional, with Robert Jones’ set design evoking the grandeur of Frederick’s court while allowing for intimate moments of character interaction. The lighting by Johanna Town shifts seamlessly between opulence and shadow, reflecting the play’s themes of enlightenment and conflict.
This is a play that is intellectually stimulating more than entertaining, but it also resonates on an emotional level, exploring universal themes of power, faith, and artistic integrity. The pacing is generally strong, though the whole thing could benefit from tighter editing. On the whole, The Score scores highly on all fronts. It offers not only an engrossing historical narrative but also profound reflections on art and humanity.
