I have never been very knowledgeable when it comes to classical music or European history, so I was unsure what to expect from a play about the composer Johann Sebastian Bach visiting King Frederick the Great of Prussia in 1747. However, I saw that Brian Cox, the Great of Scotland, most recently acclaimed for his role as the patriarch in Succession, was leading the cast as Bach, and I knew I was going to witness a masterclass in acting. I was not wrong.
The play revolves around the real event of Bach’s visit to Frederick’s court. At its heart is a fascinating ideological clash. Bach, a deeply religious man who believes music is an expression of God’s will, meets an atheistic king who sees it as an amusement, a tool to serve his own vanity. The truth of this encounter has been embellished with plenty of dramatic licence by writer Oliver Cotton, but the result is a sharp, engaging story with themes that feel disturbingly relevant today. Under the direction of the great Trevor Nunn, the production balances its historical setting with a modern resonance that never feels forced.
The first act has been described by some as meandering, but I found it rich with character and humour. The time spent with Bach and his wife, played by Cox’s real-life spouse Nicole Ansari-Cox, is tender and believable. Their love for each other is evident in every moment, and these quieter scenes help establish Bach as more than just a musical genius. When he then makes the journey of 100 miles or so to Potsdam, rather than the “more than 1000 miles” the play claims, he spends time with his son Carl, beautifully played by Jamie Wilkes. Their interactions allow for both exposition and an insight into Frederick, who Carl is clearly terrified of. For those, like me, who came into this knowing little of either man’s history, this context is incredibly useful.
Bach may be the centre of the story, but he is not the only standout. His arrival at court introduces us to Frederick’s three composers, Quantz, Benda, and Graun, played by Christopher Staines, Toby Webster, and Matthew Romain. They provide some of the most entertaining moments in the show, a trio of scheming, posturing musicians who strut about with a mix of insecurity and arrogance. While they act as Frederick’s lapdogs, trying to impress him while staying in his good graces, they are also deeply aware that they live at the mercy of his whims. Their exasperation at Bach’s sheer, unmatchable talent is both hilarious and, at times, a little tragic.
Also present at court is Voltaire, played by Peter De Jersey, who serves as a kind of ineffectual mediator between Bach and Frederick. He brings an amusing presence, hovering at the edges of their debates, but his attempts at smoothing things over never quite land. His French accent is perfectly acceptable – until he actually speaks French. As a fluent speaker myself, I found that I was suddenly listening to someone speaking French very badly, which added an unintentional layer of comedy to his role.
Cox steals the show with his gruff and godly Bach. His performance is magnetic, shifting seamlessly from humour to anger to sorrow. One moment he is telling a wry story, the next he is railing against Frederick’s wars or struggling to understand his son’s fear. Jamie Wilkes brings real depth to Carl, portraying him as a man torn between respect for his father and fear of the king he serves. Their scenes together are filled with love, frustration, and an unspoken understanding that transcends their differences.
When he finally reaches the king, the real battle begins. Stephen Hagan plays Frederick with charmingly regal malice, giving us a ruler who is as captivating as he is ruthless. As Bach challenges him on the atrocities committed in his name, Frederick deflects with cold pragmatism. He does not see cruelty, only progress. Watching this, I could not help but think of a certain world leader across the Atlantic, who just days before had dismissed the Ukrainian president’s pleas with the same casual indifference.
The period costumes by Robert Jones are stunning, with Frederick’s extravagant silver suits and shoes stealing the show. His English accent is almost comically posh, making him feel like Percy from Blackadder if he had intelligence and no conscience.
The Score may take its time getting to its climactic confrontation, but it is a deeply rewarding watch. It is both a showcase for Brian Cox’s immense talent and a timely reminder of how powerful figures justify their actions, whether through music, politics, or war. It leaves the audience wondering whether truth and morality can ever win against those determined to defy them. I for one am optimistic for the future, for while there is great theatre and boundless creativity, there is always hope. Like Bach – and to be fair, George Michael – you’ve gotta have faith.
The Score is playing at Theatre Royal Haymarket until 26 April 2025.
Book your tickets at trh.co.uk/the-score/
Words by Nick Barr
Photography Manuel Harlan
