Epstein: The Man Who Made The Beatles, Epstein Theatre, Liverpool | Theatre reviews, news & interviews
Epstein: The Man Who Made The Beatles, Epstein Theatre, Liverpool
New play about The Beatles' troubled Svengali opens the refurbished theatre that bears his name
Those of us growing up in the heady days of 1960s Liverpool knew that four local lads were taking the world by storm. Some really grown-up people might even have been to The Cavern and seen the phenomenon in their early days. And yet there was always an enigma in the background: the figure who made it happen but about whom we knew almost nothing.
Brian Epstein – pronounced Epsteen – seemed to have it all: wealth, good looks, ability, contacts. He was the gifted businessman who launched several epic popular music careers, not to mention a major music business in Liverpool which continued well after his death. And yet as this witty, well-paced new play by Andrew Sherlock dramatises in the refurbished theatre named after him, he was troubled, insecure, dependent on drink and drugs and perpetually harassed.
This Boy is a potential lover. He’s also the anti-Semitic homophobe
From the start, life was not likely to be easy. A Jew growing up at a time when anti-Semitism was often rife despite the horrors of the Holocaust, he went to school in Liverpool through the Second World War when the city was one of the most bombed and battered places in the world thanks to the docks and the links to America. He was also gay at a time when it was still illegal. There is a scene in which older boy taunts Epstein for being Jewish and a faggot. “There are no faggots in this school,” he says. “Oh, I think there are,” says Epstein and kisses the boy who makes no effort to escape.
Epstein: The Man Who Made The Beatles is at times comic, at times intensely moving. It features only two characters: Brian Epstein himself and This Boy (named after the early John Lennon song). While Epstein is the suave, unruffled impresario, This Boy assume a range of roles. He is the scally from Liverpool who is obsessed with Epstein, keeping all the cuttings from the Liverpool Echo and Merseybeat, the famed Liverpool music magazine which is sadly no longer. He’s a budding, talented writer, a not-half-bad singer, an agony uncle, a new-found friend of Epstein. And, although there are hints in what amounts to a staged all-night conversation between strangers that this new friendship may blossom into something more, we’re left unsure as to whether This Boy is a potential lover. He’s also the anti-Semitic homophobe.
Will Finlason slips between these multiple roles with confidence, changing out of his costume only once to slip into a Sixties zoot suit associated with The Beatles. Andrew Lancel in a Gieves and Hawkes suit, preening himself unsmilingly in the mirror, captures Epstein’s assurance, even arrogance, dissolving into sobs only when This Boy threatens to leave. Jen Heyes’s direction is simple but clever, while the set design consists of a sparsely furnished but tasteful 1960s bachelor pad plus back wall projections. Epstein is not merely an exercise in nostalgia 50 years on from the Beatles first hit. It also finds the real man lurking inside an enigma.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
Jumbled revue is salvaged by its bright young things
Moments of poignancy and humour don't quite add up to this play's full dramatic weight
Visuals threaten to swamp Shakespeare - and, yes, Sherlock
Theatre is once more the lure for the Welsh star of Midsomer Murders
Bicentenary Trollope adaptation mixes fiction with sea voyage in agile show
Magical, meditative new show on memory from Robert Lepage
An epic stunningly maintained over 16 hours and a cavalcade of actors' delivery
From the world's biggest and best arts festival
A bit of everything in theartsdesk's stage tips
Revival of Julia Pascal’s 2003 play about the intifada is powerful, but no easy ride
Smaller is better - even best - in third London go-round of 1989 Broadway hit
Conflict of restrictive dogma and individuality powerful in story of 17th century Mexico