Tom stoppard

Tuesday

Ysenda Maxtone Graham

Am I allowed to find Tom Stoppard boring?

I didn’t breathe a word of my true reaction while filing into the top-floor bar of the Old Vic theatre last week after the three-hour production of Tom Stoppard’s Arcadia was over. It would have been mortifying to be overheard muttering any adverse comments, when swaths of intellectual Stoppard-lovers from all over London and the Home Counties were crowding on to the staircase. Stoppard is a national treasure and to say anything rude about his work, especially in the three months after his death, would be heresy.   It was only on the pavement walking towards Waterloo that I dared to say to my husband: ‘I must say, I wasn’t moved by it. I mean, I didn’t really care about any of the characters. I know we’re meant to be feeling dazzled by his wit and brilliance, but for some reason I just feel tired out.’   A

Wednesday

Arthur I. Miller

What drama gets right and wrong about science

A few days after Tom Stoppard’s death last month, Michael Baum, a distinguished surgeon, wrote a letter to the Times. He explained how Stoppard’s discussion of chaos theory in Arcadia had inspired him to discover a new and far more effective chemotherapy to treat breast cancer. ‘Stoppard never learnt how many lives he saved by writing Arcadia,’ wrote Baum. I’ve long been fascinated by the relationship between science and drama. I knew Tom Stoppard and when I was professor of history and philosophy of science at UCL, we had several illuminating conversations about art, science and theatre, which he recalled in a 1994 article entitled ‘Playing with Science’ for the

Monday

Lloyd Evans

One for hardcore Stoppard fans: Indian Ink reviewed

Unusual. After the press night of Indian Ink by Tom Stoppard, no one leapt up and cheered. The crowd applauded politely at the amusing dialogue and the marvellous acting in Jonathan Kent’s handsome three-hour production but there was no standing ovation. The script feels like a literary novel overstuffed with detail. Flora Crewe is a ravishingly beautiful but utterly sexless poet who floats around India in the 1930s provoking the adoration of lustful men. But she doesn’t evolve or change during the action. And she’s maddeningly indifferent to the romantic attention she excites. A maharajah tries to impress her with his fleet of Rolls-Royces. A dashing English captain proposes marriage

Thursday

Charles Moore

The conservatism of Tom Stoppard

Sir Tom Stoppard, who died last week, never wrote a memoir, but he did sort of speak one. Just over ten years ago, he told me that he and his new wife, Sabrina Guinness, had become tenants of an old rectory in Dorset. I asked him if he would therefore speak as guest of honour at the AGM of the Rectory Society, a fan club for existing and former clergy houses which I invented in 2005. The AGM always takes place in a central London church, and in 2015, the year I invited Tom, it was held in the Queen’s Chapel beside St James’s Palace. Beyond expressing a tepid wish that

Peter Jones

How I bonded with Tom Stoppard over the classics

Many years ago, and well retired, I was working in my study when the phone rang and a voice said: ‘This is Tom Stoppard. David West put me on to you.’ West was professor of Latin at Newcastle University and Tom called him when he had queries about Latin. But he had a question about the ancient Greeks which David could not answer, so he suggested Tom try me. I have no memory of what the question was, but my answer must at least have satisfied him because he continued to throw the odd leg-break my way. To give some idea of his range of interests, on one occasion he

Wednesday

Craig Raine

The wit of Tom Stoppard

The playwright Peter Nichols created a character based on Tom Stoppard. Miles Whittier. On a car journey across London, I once asked Peter why he was so irked by Stoppard. Thelma, his wife, answered for him: ‘He uses all the oxygen.’ But Stoppard was miles wittier. Asked by a punter, after the New York first night of Rosencrantz and Guildenstern are Dead, what his play was about, he replied: ‘It’s about to earn me a great deal of money.’ Think about it: the only person capable of preserving that bon mot was the playwright himself. He knew how funny he was. Later, he was more careful. Asked by Melvyn Bragg

Thursday

Lloyd Evans

Exquisite: Tom Stoppard’s The Invention of Love, at Hampstead Theatre, reviewed

The Invention of Love opens with death. Tom Stoppard’s play about A.E. Housman starts on the banks of the Styx, where the recently deceased poet is waiting for Charon, the boatman, to ferry him across the water. Charon has been told to pick up ‘a scholar and a poet’ and he’s expecting two souls, not one. Houseman explains that he pursued both careers and is therefore a solo passenger. The play’s storyline emerges slowly and with immaculate taste. Stoppard is not one for cheap tricks This takes place in 1936, the year of Housman’s death, and we then flip back to Oxford in the 1870s. The river Styx becomes the

Wednesday

Jonathan Maitland

The mystery of Huw Edwards’s missing phone

The best thing about being a playwright? The satisfaction of creativity. The worst? Press-night parties attended by friends, industry people and celebs. Playwright Terry Johnson says he knows writers who find such occasions so hellish they’ve been put off writing plays altogether. The problem is the corrosive, deeply unsettling belief that everyone is lying to you. Everyone knows the rules: on press night, say something nice, even if it was a giant turkey. No negatives. That’s the critic’s job. But writers know this, so never believe any compliment, ever, even if the person paying it is telling the truth. The only time a writer can be sure of something is

Wednesday

Lloyd Evans

Dazzling: Stoppard’s The Real Thing, at the Old Vic, reviewed

The Real Thing at the Old Vic is a puzzling beast. And well worth seeing. Director Max Webster sets the action in a vast sitting room painted electric blue with a white sofa in the centre. A lovely use of empty space. But the preview trailer on the theatre’s website shows the actors seated in a scruffy bomb site where they discuss similarities between Tom Stoppard’s 1982 play and the lyrics of Taylor Swift. Perhaps the Old Vic hopes to attract a younger audience, but this show will appeal most to Stoppard’s lifelong fans. The play marks a major shift in his development. The exuberant and frothy cleverness of his

Thursday

Peter Jones

Was Penelope really a ‘silenced’ woman?

Problems about the misuse of history, especially on subjects such as race and colonialism, have been running for a long time. But when it comes to the ancient world, there are also problems about the misuse of literature. Dame Mary Beard’s ‘manifesto’ Women and Power (2018) contains an example of the problem. Her thesis is that women’s voices in the public sphere (my emphasis) have been ‘silenced’ by men ever since the West’s first literature (Homer’s Iliad and Odyssey) gave us our first access to ‘western’ thoughts, deeds, beliefs, hopes and fears (c. 700 BC). The problem exists in the first example of her thesis, to which she returns four

Wednesday

Patrick West

Why wealth matters in the free speech debate

The divide between the rich and the poor is obvious in Britain today. Whether in terms of income, geography or political outlook, the cleavage between the haves and have-nots widens conspicuously. It has become a source of much snobbery and resentment. But there is another field in which this division can be witnessed, yet all too often goes ignored: free speech. Increasingly, the freedom to express your political opinions has become the privilege of the rich, while the poor – or even those on middle incomes – now fear to say what they like. This is especially the case when it comes to talking about gender, race and Brexit. So fearful of speaking

Tuesday

Robert Jackman

The show must go on: theatre to look forward to this year

With the vaccine rollout underway, the theatre world is betting on a triumphant return in the spring – and this time for good. If, like me, you can’t wait to get back to the West End, here are eight shows to book ahead for (whilst keeping your fingers firmly crossed for the vaccine rollout). Good Harold Pinter Theatre, 21 April – 17 July David Tennant returns to theatreland to take on the leading role in CP Taylor’s seminal play about a liberal-minded professor and dutiful husband who finds himself seduced by the rise of National Socialism in 1930s Germany. Once described as English theatre’s ‘definitive’ Holocaust play, Good is the

Thursday

Lloyd Evans

How Tom Stoppard foretold what we’re living through

A TV play by Tom Stoppard, A Separate Peace, was broadcast live on Zoom last Saturday. I watched as my screen divided itself into four cubes in which appeared the actors, performing from home. The play was written in 1964 and it’s well suited to the split-split screen format because no physical contact occurs between the characters. Director Sam Yates added some rudimentary music and a bit of wobbly background scenery. Mr Brown (David Morrissey) is a mysterious Englishman who asks to be admitted to a private hospital in the middle of the night. Though he has no symptoms he’s given a bed, and he pays his bills in cash.