The premise is an intriguing one. A meeting between the Christian musical genius J.S. Bach and the atheist, aesthete and militarist king of Prussia, Frederick II. What would these two have in common? What would they dispute? And, if such a meeting were also attended by the cultured and caustic Voltaire, the conversation would surely be scintillating. Unfortunately, this is not the case in playwright Oliver Cotton's version of events. All of the characters in this work are two-dimensional at best, and both Frederick and Voltaire come off as rather buffoonish caricatures. The complex relationship of Frederick II with his father which is emphasised by the portrait of Frederick William I which dominates the stage is never really explored and is quickly summarised by the royal chambermaid, Emilia. Where there might have been a parallel drawn with Bach's relationship to his own son, Philipp Emanuel there is really no time to dwell on such issues as so much else is going on. Ostensibly, the narrative focuses on the tension between the king and Bach, centring on the former's love of war and the latter's objection to it and to the vile behaviour of Frederick's troops garrisoned in Bach's beloved Leipzig. Moreover, the plot also focuses on a conundrum Frederick sets for the distinguished composer. The old man is challenged to write a fugue based on a difficult theme devised by the king in collusion with three of his court musicians, and the impoverished Philipp Emanuel makes a substantial wager on his father's ability to do so. These two aspects of the narrative are never really integrated and other plot threads, such as the plight of that royal chambermaid, Emilia, seem to be added on as equally gratuitous storylines. There is simply too much going on here and none of it has much substance. Brian Cox strives to bring some intellectual depth and gravitas to his portrayal of Bach, but in terms of character he has too little to work with, and in terms of plot he has too much. He manages to exude considerable passion in his role, but does so in the face of other characters, such as his wife, Anna, portrayed by Nicole Ansari-Cox, and Frederick, played by Stephen Hagan, who seem merely sketched in. The basis for The Score is a point in history that brings together two towering giants of their era. It offers an opportunity to paint some fascinating psychological portraits in the context of some profound philosophical differences. While it may be an interesting piece of theatre, unlike Bach and his fugue, it doesn't quite rise to the challenge that has been set.
Rated: ★★★
Reviewed by J.C.
Photo by Manuel Harlan
When, Where, Getting there:
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