Brian Cox's Electrifying Performance as JS Bach Steals the Show in The Score Review

2023-10-21 12:24:03

The Score review – Brian Cox is magnetic as JS Bach in a clash of values | Theatre

It is promoted as a dramatic encounter between God-fearing German composer Johann Sebastian Bach and the fearsomely godless Prussian monarch Frederick the Great. But that anticipated head-to-head does not come until the last hour of this uneven new play.

Under the direction of Trevor Nunn, The Score revolves around Bach’s trip from Leipzig to the king’s court in 1747. The first act is an extended prelude, scattered in tone and unsure of its purpose. There is an entertaining modernity in Oliver Cotton’s script, which strains towards the comic as the composer moans that he has to travel more than 1,000 miles to kiss the king’s arse. But it sounds rather too much like Bach by way of Blackadder.

The production is redeemed by its star billing in Brian Cox, who plays the genius musician with such magnetism that he almost singlehandedly saves this play. Where Simon Russell Beale, in Bach & Sons at the Bridge theatre, was moribund and lugubrious, Cox is crashingly loud and vigorous. He has a grumpy, argumentative and tormented vulnerability. A gruff Scottish lilt is mixed in with upper-class English vowels and there are comic inflections to his bad tempers but all of it works. As in Succession, he is a patriarch on the wane – elderly, ailing and thinking of his legacy. But Cox’s Bach is warmer than his Logan Roy and profoundly religious, his musical genius channelled directly from God, in his mind.

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Trevor Nunn's Direction

Trevor Nunn, known for his exceptional directing skills, guides The Score with his expertise. However, the first act may leave the audience disoriented, as the tone shifts sporadically and the purpose remains unclear. Oliver Cotton's script injects a modern touch, almost reminiscent of Blackadder, as Bach bemoans his journey of over 1,000 miles just to pay homage to the king.

Brian Cox's Star Performance

Brian Cox's portrayal of Bach is nothing short of captivating. With his magnetic presence and explosive energy, Cox breathes life into the genius musician, elevating the quality of the play. Unlike previous interpretations, such as Simon Russell Beale's Bach & Sons, where the character lacked vitality, Cox's Bach exudes passion and religious devotion, convinced that his musical talent is divinely inspired.

A Clash of Values

The pivotal moment of the play resides in the confrontation between Bach and King Frederick II, shedding light on the clash of values between the ruler and the musician. The king, portrayed by Stephen Hagan, initially appears rather innocent and playful, but underneath lies a dangerous figure. As Frederick defends his actions, using Enlightenment values as justification, the tension escalates, echoing the conflicts seen in present-day situations like Gaza and Ukraine.

In terms of the supporting cast, some performances fall short. Voltaire, portrayed by Peter De Jersey, delivers an exaggerated French accent, sounding rather ludicrous. Court composers Quantz, Benda, and Graun, played respectively by Christopher Staines, Benedict Salter, and Eric Sirakian, resemble Prussia's version of the Three Stooges.

Powerful Chemistry

In Robert Jones's set design, the audience is transported from the rustic interior of Bach's home to the opulence of the royal court. While Bach's relationship with Carl, played by Matthew Burns, showcases tenderness, it is Cox's scenes with Nicole Ansari-Cox, his real-life wife portraying his fictional wife, that truly shine. Their passionate chemistry permeates the stage, even though their storyline is only briefly explored.

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