Brian Cox Embodies Bach in Oliver Cotton's 'The Score' at Shakespeare Theatre

There’s a certain magnetism to Brian Cox when he steps onto the stage, tapping into characters as diverse as Logan Roy in HBO’s Succession and the emotional depths of Johann Sebastian Bach in the new play The Score. Before diving into his latest role, Cox's breadth of work includes memorable performances in productions ranging from Skylight to Rock ’n’ Roll, where he showcased his capacity to portray a wide range of human experiences, from boisterous restaurateurs to ideologically driven academicians.

In The Score, Cox is directed by Trevor Nunn—theatrical luminary who previously helmed Rock ’n’ Roll. The setting is 1747, a time just before Bach's death, illuminating a man under personal and political duress as he navigates the expectations of the tyrannical Frederick the Great and the burdens of a complex family legacy alongside his son, Carl Philipp Emanuel Bach. Cox's portrayal brings to life Bach’s deep-seated passion and ideals, painting a picture of the composer as a fierce advocate in a politically charged environment.

What makes this performance intriguing is that it’s Cox’s second encounter with Bach; his first was in a 1984 TV film, The Cantor of St. Thomas’s. Reflecting on his journey with the character, Cox remarked on a significant shift in his perception: “At the time I found the composer ‘a really boring guy.’ I have since completely reviewed my whole idea of Bach.” His renaissance with Bach came through personal revelations, especially when his friend, playwright Oliver Cotton, shared a guitar rendition of Bach’s Chaconne, which Cox described as “extraordinary.”

Exploring Bach's Complexity

Cox’s insights into the role reveal his effort to excavate Bach’s character. He expressed, “He has a personality, but it’s slightly invisible.” This invisibility becomes a canvas upon which Bach’s conflict is projected: residing in Leipzig under Prussian military occupation and grappling with moral outrage at the oppression around him. The play illustrates the tension as Bach confronts Frederick and the injustices perpetuated by his regime.

Importantly, the narrative gives Cox's Bach a tangible cause alongside numerous obstacles. At one point, he is deeply incensed by the lack of accountability when a soldier commits a grievous crime, using his visit to not only check in with his son but also to challenge the king’s authority. Frederick and his court composers, in a moment of hubris, believe they can stump Bach with a musical theme—that he will be unable to transform into a fugue. Spoiler alert: Cox's Bach rises to the occasion, creating one of his greatest works, a moment of triumph amid adversity.

Faith as an Artistic Force

One of the most riveting aspects of Cox’s portrayal is how he connects Bach’s artistry to his faith: “Because he’s essentially religious, the music is a celebration of his faith,” he explained. In contrast to Beethoven, where the music articulates existential questions, Bach’s compositions manifest a spiritual celebration of life itself.

Cox thinks of acting similarly: “He was a superb craftsman—he understood his craft probably better than any musician.” This affinity for craftsmanship shows through in his approach to portraying the complexity of Bach's inquiries about existence. Underlying the narrative, The Score serves as a meditation on spirituality and the relationship between art and the divine, with Cox affirming that embodying Bach means giving oneself over to these profound explorations.

A Family Affair on Stage

In a personal touch, Cox’s real-life wife, Nicole Ansari-Cox, plays Anna Magdalena, Bach’s spouse. Their off-stage synergy has been a part of various projects, including previous theatrical collaborations. Ansari-Cox, who was raised in Germany—a backdrop rich with Bach’s influence—assesses the play as resonant with contemporary issues despite its 18th-century setting. She articulated, “It seems to be a play about something that happened in the 18th century, but there are ripple effects today that have such resonance.”

Yet, acknowledging the political atmosphere surrounding the production of The Score in Washington D.C, the couple expressed a desire for theatrical boundaries when facing external expectations. Ansari-Cox wryly noted their request to the artistic director: “We want it in writing that we do not have to shake hands with people we do not want to shake hands with.”

While some external pressures loom, Cox seems determined to keep the focus on the artistic endeavor at hand. It’s a compelling look at how artists engage with their crafts amid political realities, making The Score a timely take on the historical and ideological battles of the past.

Through this performance, Brian Cox not only steps into Bach’s shoes but also revisits the fundamental crises of a man whose music continues to speak volumes, even centuries later. The interplay of politics, family, and art makes The Score an engaging narrative, one that resonates well beyond its historical confines.