A new West End production explores the life and ideas of John Maynard Keynes, the influential 20th-century British economist known for his advocacy of government intervention and state spending to stabilize economies. The play, written by James Graham and directed by Nicholas Hytner, brings Keynes’s economic theories to the stage through a blend of historical narrative and personal drama.

Rory Kinnear stars as Keynes, portraying the economist with a combination of restraint and charm. The production traces key moments in Keynes’s life, spanning two world wars, the Wall Street Crash, and his role in securing credit from the United States to rebuild postwar Britain. It also delves into his connections with the Bloomsbury Group, a circle of intellectuals and artists, including figures such as Virginia Woolf, Lytton Strachey, and Duncan Grant.

The play not only highlights Keynes’s economic contributions but also his unconventional personal life. Noted for his bisexuality and relationships with Strachey and Grant, Keynes is depicted as a complex figure who combined a passion for the arts with a firm belief in capitalism. His marriage to Russian ballerina Lydia Lopokova, here portrayed by Natalia Osipova in her acting debut, is presented with a straightforward sweetness.

Set design by Bob Crowley features moving screens displaying art and archival footage, providing a dynamic visual backdrop. The script frames Keynes’s economic theories through engaging lectures and dialogues, making complex ideas accessible without becoming didactic. Themes of freedom, happiness, and culture intersect with discussions of finance and policy, emphasizing economics as a human-centered discipline rather than merely mathematical.

While praised for its polished production and Kinnear’s likable performance, the play has drawn some criticism for its cautious approach to Keynes’s personal and political complexities. Some argue that moments such as his disputes with non-interventionist economist Friedrich Hayek are depicted with too much politeness, and that the drama occasionally feels static despite its ambitious scope. The portrayal leans toward admiration and affection, potentially at the expense of deeper emotional insight.

A notable contemporary resonance emerges when Keynes addresses the rise of populism during economic downturns, suggesting the enduring relevance of his ideas. However, the production stops short of engaging with the current status of institutions like the Arts Council, which Keynes helped found.

The play runs at the Theatre Royal Haymarket in London until December 12.