A new play centered on the life and ideas of economist John Maynard Keynes is currently running at the Theatre Royal Haymarket in London’s West End. The production, penned by playwright James Graham, explores Keynes’s personal and professional world, offering audiences a spirited look at economic theory through a theatrical lens.

Rory Kinnear portrays Keynes, bringing to life the early 20th-century thinker known for his optimistic yet pragmatic views on economics. The play opens with Keynes posing a fundamental philosophical question—what constitutes a good life? For Keynes, this inquiry was central to economics, which he saw as a reflection of human desires and behavior rather than an abstract, detached discipline. His famous admonition that “in the long run, we are all dead” underscores his argument for stimulating economic activity through spending rather than saving. Kinnear’s portrayal emphasizes Keynes’s blend of intellectual rigor and personal uncertainty, presenting him as both a visionary economist and a man grappling with his place in the world.

The narrative weaves through Keynes’s associations with the Bloomsbury Group, an influential circle of artists and thinkers in London that included Virginia Woolf and Lytton Strachey, portrayed by Naomi Frederick and Pip Carter. Their interactions provide a backdrop to Keynes’s unconventional character and social milieu. The play also introduces Friedrich Hayek, a former admirer turned critic of Keynes’s economic approach. Played by Laurie Kynaston, Hayek represents the free-market orthodoxy Keynes challenged, reflecting the philosophical and economic debates of the era.

The production does not shy away from highlighting Keynes’s personal life, including his promiscuity and complex relationships. His romance with Lydia Lopokova, a Russian dancer portrayed by Natalia Osipova, acts as a grounding force within the narrative, revealing a more intimate side of the economist. The play uses these personal episodes to humanize Keynes beyond his economic theories.

While the storyline occasionally becomes didactic, notably in its direct calls for arts funding, director Nicholas Hytner’s staging keeps the pace lively. The use of vibrant period artwork and archival footage along with dynamic performances maintains audience engagement throughout the show’s exploration of economic, historical, and cultural themes spanning half a century of British history.

Though the play does not provide a critical examination of Keynes’s legacy, nor claim that his ideas solved all economic challenges, it succeeds in stimulating reflection and conversation. It offers an accessible and entertaining entry point into discussions often considered dry, making the complexities of economics approachable through compelling storytelling and performance.