The Economist on Stage: Why James Graham’s ‘The Standard of Living’ Is More Than Just a Play
When I first heard about James Graham’s latest venture, The Standard of Living, my curiosity was immediately piqued. Graham, known for his sharp political dramas like Dear England and Punch, has a knack for turning seemingly dry subjects into gripping theater. But this time, he’s tackling something even more ambitious: the life of John Maynard Keynes, the economist whose ideas reshaped the 20th century. What makes this particularly fascinating is that Keynes isn’t just a figure from history books—he’s a man whose legacy continues to influence how we think about economics, art, and society today.
Keynes: The Man Behind the Theories
Keynes is often remembered for his revolutionary economic theories, particularly his advocacy for government intervention during economic downturns. But what many people don’t realize is that he was also a passionate patron of the arts. In fact, he played a pivotal role in establishing arts funding in Britain, a system that still supports cultural institutions today. Personally, I think this duality—the economist who loved ballet, the theorist who wrote poetry—is what makes Keynes such a compelling figure. Graham’s play seems to lean into this, casting Rory Kinnear as Keynes and pairing him with Natalia Osipova, a ballet star making her West End debut. It’s a bold choice, but one that reflects Keynes’s own blending of intellect and artistry.
A Cast That Mirrors Keynes’s Complexity
The cast of The Standard of Living is a who’s who of British talent, but what’s most striking is how each actor seems to embody a different facet of Keynes’s world. Thomas Flynn plays Duncan Grant, Keynes’s friend and lover, a detail that I find especially interesting because it highlights Keynes’s personal life, which was as unconventional as his economic theories. Laurie Kynaston as Friedrich Hayek, Keynes’s intellectual rival, adds a layer of tension that promises to make the play more than just a biographical sketch. It’s a clash of ideas, not just personalities.
Why This Play Matters Now
In my opinion, The Standard of Living couldn’t come at a better time. We’re living in an era of economic uncertainty, where debates about government spending and the role of the arts in society are more relevant than ever. Keynes’s ideas about using public funds to stimulate the economy and support culture feel eerily prescient. If you take a step back and think about it, the play isn’t just about the past—it’s a mirror to our present. Graham is asking us to reconsider what we value as a society, and whether art and economics can coexist in a meaningful way.
The Creative Team: A Behind-the-Scenes Masterpiece
One thing that immediately stands out is the creative team behind the production. Bob Crowley’s set design, Jenny Beavan’s costumes, and Luke Halls’s projections promise to transport audiences to Keynes’s world. But what this really suggests is that the play isn’t just about telling a story—it’s about creating an experience. The inclusion of ballet consultancy by Edward Watson hints at a seamless integration of dance and drama, a nod to Keynes’s love for the arts.
Broader Implications: Economics, Art, and Identity
This raises a deeper question: Can a play about an economist truly capture the essence of his ideas? From my perspective, Graham’s approach—focusing on Keynes’s personal life and relationships—is a smart one. By humanizing Keynes, he makes his theories more accessible. What this really suggests is that economics isn’t just about numbers; it’s about people, passions, and priorities. The play’s exploration of Keynes’s role in arts funding also challenges us to think about how we define progress. Is a society richer because of its GDP, or because of its cultural output?
Final Thoughts: A Play for Our Times
As someone who’s always been fascinated by the intersection of art and politics, I’m eagerly anticipating The Standard of Living. It’s not just a play about an economist; it’s a reflection on what it means to live a meaningful life, to shape the world around us, and to leave a legacy that transcends disciplines. Personally, I think Graham has hit on something profound here. In a world where art and economics often feel like polar opposites, Keynes’s story reminds us that they can—and should—be intertwined.
So, is The Standard of Living good? Based on what I’ve seen, I’d say it’s more than that. It’s necessary. And if you’re someone who cares about history, economics, or just great storytelling, it’s a play you won’t want to miss.
