History, music, and a star-studded cast collide this coming February when Brian Cox arrives in London to reprise his role as composer Johann Sebastian Bach in THE SCORE. After a successful run at Theatre Royal Bath in 2023, Oliver Cotton’s new play makes its West End transfer to the Theatre Royal Haymarket, complete with an expanded line-up of acclaimed performers. Add in Trevor Nunn’s direction and a storyline packed with philosophical and musical battles, and you’ve got a theatrical event that should be on every theatregoer’s radar. Here’s what to expect when you settle in for an evening of feuding geniuses and emotional crescendos.
Set in 1747 Prussia, THE SCORE tells the story of two towering figures: Johann Sebastian Bach (played by Brian Cox) and Frederick II (played by Stephen Hagan). The two historical icons couldn’t be more different. Bach, a devout Lutheran composer, sees music as an expression of faith and moral order, while Frederick II—an atheistic king with a love of military might—stands for the modern, secular world. During their tense encounter, a suite of intellectual and musical duels unfolds, bringing to life the tensions between progress and tradition, devotion and reason.
From a purely historical standpoint, Bach did indeed travel to Potsdam in 1747 at the invitation of Frederick the Great (Frederick II’s moniker), who was himself an accomplished flautist and staunch supporter of the Enlightenment. It’s said that Bach improvised on a theme provided by the monarch, eventually giving rise to the famous Musical Offering. Oliver Cotton’s play, therefore, isn’t just fictional drama but a creative expansion on a tantalising historical anecdote—one that reveals how ideas about God, art, and power were clashing in 18th-century Europe.
At the heart of THE SCORE is, of course, Brian Cox, no stranger to embodying commanding personalities (cue his turn as media mogul Logan Roy in Succession). This time, he steps into the shoes of Bach, channeling the composer’s unwavering religiosity and repressed frustration as he navigates Frederick’s atheist court. Joining him on stage is Nicole Ansari-Cox, Cox’s real-life wife, who portrays Bach’s spouse, Anna—a figure with a crucial emotional role, providing both comfort and counsel to her husband as he grapples with artistic and spiritual dilemmas.
But the cast list doesn’t stop there. A host of well-known stage talents have been announced, each playing a real or imagined participant in this high-stakes scenario. As Frederick II, Stephen Hagan portrays a leader revered for his military achievements but also infamous for his cynicism regarding religion. Then there’s Peter De Jersey taking on the role of Voltaire, the eminent philosopher whose wit and irreverence would almost certainly have influenced the King’s worldview. Around them, an ensemble of characters help to paint the full picture of life in Frederick’s court:
With so many moving parts, THE SCORE promises to be an ensemble piece as much as a star vehicle—giving audiences a broad sense of the political and cultural ferment that defined Prussian life in the mid-18th century.
To stage a narrative that mingles historical context with philosophical fireworks, the production enlisted Trevor Nunn, a name almost synonymous with British theatre. His résumé includes everything from Les Misérables to Shakespearean revivals, so it’s safe to assume he’s well-equipped to handle the transitions between musical interludes, courtly intrigue, and theological debate. In an era where theatre sometimes leans on contemporary reimaginings and modern minimalism, it’ll be interesting to see how Nunn addresses the period piece aesthetic while keeping the pacing and tension tight.
The creative team also features:
Given that Bach’s own music is a key thread in the storyline, one might expect a richly evocative soundscape. The question is whether the production will include live instrumentalists or rely on recorded segments—something many theatregoers will be curious to discover. Either way, the synergy of these designers is likely to conjure an immersive world that effectively transports audiences to the corridors of 18th-century Prussia.
Performances of THE SCORE begin on 20 February 2025, leading to a press night on 27 February. The run continues through 26 April, offering a hefty two-month window for those keen to snag tickets. The venue, Theatre Royal Haymarket, is steeped in its own storied history, often hosting prestige productions that draw top-tier talent (think David Suchet in The Importance of Being Earnest, or more recently, star-driven revivals of classic comedies). If the show’s Bath run is any indicator, we can anticipate a robust audience eager to see how Bach and Frederick’s clash translates in a West End environment.
And that’s just the first of two high-profile transfers. After THE SCORE wraps, the theatre will welcome another show from the Bath repertoire: Terence Rattigan’s THE DEEP BLUE SEA, starring Tamsin Greig and Finbar Lynch under the direction of Lindsay Posner. Running from 7 May to 21 June 2025, Rattigan’s post-war drama looks at the emotional turmoil of Hester Collyer, a woman trapped in a destructive affair. The shift from Enlightenment intrigue to 1950s heartbreak showcases just how versatile the Theatre Royal Bath’s offerings can be—and how audiences are craving different flavours of drama.
At first glance, a historical drama set nearly three centuries ago might seem like a niche interest. But look closer, and you’ll see threads that continue to speak powerfully to contemporary issues. The play’s central debate—about faith, reason, art, and the nature of progress—remains as relevant as ever. Can music hold moral or divine significance in an increasingly secular world? Does genius, whether musical or military, operate by a separate set of rules from everyday life? Are we shaped more by religious conviction or by societal structures?
These themes echo in modern conversations, from ongoing debates about science and religion to discussions around the ethical responsibilities of art creators. That THE SCORE can tackle these issues through the lens of historical figures—particularly ones as iconic as Bach—gives it a timeless resonance that might just leave audiences pondering the big questions long after the final curtain.
The Bath engagement last year offered a promising glimpse into how audiences might respond in London. Early reviews praised Brian Cox’s commanding presence and the show’s clever intertwining of historical detail with intellectual drama. Some critics pointed out that the text manages to be both an absorbing biography of Bach and an exploration of Enlightenment values clashing with the vestiges of medieval orthodoxy. Meanwhile, the portrayal of Frederick II as a witty antagonist challenges the simple hero-villain dichotomy; the King’s cynicism might strike some viewers as prescient, while others could recoil from his dismissive stance on faith.
Given that the production found momentum in Bath, it’s no surprise that theatre insiders are tipping THE SCORE to be a conversation starter in the West End. The presence of theatre luminaries like Trevor Nunn only heightens that sense of anticipation. Expect a wave of coverage around opening night, likely delving into how the West End staging might differ from its Bath iteration—perhaps with refined blocking, new scenic elements, or subtle performance tweaks shaped by the intimacy (or grandeur) of the Theatre Royal Haymarket’s stage.
Shortly after THE SCORE finishes its run, audiences can switch from Bach’s cerebral sparrings to the raw emotionalism of THE DEEP BLUE SEA. This double-feature of Bath transfers creates a compelling one-two punch for theatregoers who enjoy variety. Where THE SCORE might tantalise intellectually, THE DEEP BLUE SEA is more about deep-feeling heartbreak set against the social constraints of mid-20th-century Britain. Tamsin Greig is no stranger to tackling complex emotional roles, and alongside Finbar Lynch, the pair promise to bring Terence Rattigan’s script to life in all its quietly devastating detail. For those who thrive on seeing two very different corners of theatre in close proximity, the next few months at the Theatre Royal Haymarket could be a small slice of heaven.
By the time February 2025 rolls around, London’s theatre scene will be abuzz with new musicals, star-driven revivals, and everything in between. Yet THE SCORE has carved out a special niche: a historical tour de force that delves into the lives of musical and military geniuses, directed by one of Britain’s most celebrated practitioners, and powered by a cast that’s both formidable and fresh.
If you’re looking for a production that offers intellectual heft, a dash of real historical intrigue, and the chance to witness Brian Cox bridging the centuries through the lens of Bach’s genius, THE SCORE should be near the top of your list. Beyond the star wattage, it’s a piece about art, belief, and the human need to make sense of a world that keeps changing. In short, the story of Bach vs Frederick may be set in the 18th century, but its echoes stretch right into the present day—where debates over faith, science, and the role of art rage on.
And if, after that, your appetite for intense theatre remains unsated, THE DEEP BLUE SEA will be waiting in the wings. The Theatre Royal Haymarket, it seems, has lined up a remarkable double act for the first half of 2025—one that promises to satisfy anyone who craves drama with substance, style, and a pinch of timeless conflict. So mark your calendars, because the calls of history—and the strains of Bach’s music—are about to resonate through the West End in a way you won’t want to miss.
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