leopoldstadt play review


The new piece promptly establishes itself as magnificent at its first outing in a production by Patrick Marber.

You could not pick up the inspiration that suffuses Leopoldstadt in Harrods – “not even for ready money”, to steal a gag from a comedy that Stoppard has pastiched several times, The Importance of Being Earnest.

It springs to astonishing dramatic life in a … Are you sure you want to delete this comment? Patrick Marber’s warm, emotionally nimble production draws us into what could be a daunting sprawl of characters and events. You can also choose to be emailed when someone replies to your comment.

Ludwig cleaves to logic as a way out of the irrational chaos of Nazi ideology: “There is order underneath,” he tells the children about their tangled game of cat’s cradle and, as a metaphor of hope, it is filled with the sadness of hindsight. Aaron Neil and Rhys Bailey in Leopoldstadt.

It is grand, contemplative and elegiac with a cast of more than 20 and a historical sweep across six decades. Performance dates & times Leopoldstadt is not available to book, please sign up to our newsletter for updates and offers on forthcoming and available shows. In the figure of Ludwig, a mathematician played by Ed Stoppard, we recognise the familiar theme of science that has long preoccupied the playwright’s characters. Leopoldstadt review, Wyndham’s Theatre: Tom Stoppard’s shiveringly sensual journey through the terrible 20th century is a masterpiece Patrick … Want an ad-free experience?Subscribe to Independent Premium. WC2H 0DA, The five Tom Stoppard plays everyone needs to know, ★★★★ 'Magnetic Aimie Atkinson brings power and depth to musical rom-com revival', ★★★★ 'Roger Allam and Colin Morgan give fine performances in Caryl Churchill's nature-nurture debate', ★ 'Two men's internal struggles overshadow beefed-up musical', ★★★★★ 'Antoinette Nwandu's shattering study of racism's dream-stealing power', ★★★★ 'Lesley Manville is magnetic in Tony Kushner's superb, but very long, drama', ★★★★ 'Tom Stoppard's new masterwork is an early contender for play of the year', ★★★ 'Beguiling energy to a passionate debut about breaking down barriers', ★★★★ 'Stunning craft and sinister visions in spine-tingling Caryl Churchill revival', ★★★ 'Lucy Kirkwood's messy but significant work has a gutsy audacity', ★★★★ 'Daniel Radcliffe gives his best stage performance yet in Samuel Beckett double-bill', ★★★★ 'Rafe Spall rages through grief and fury in electrifying one-man play', ★★★★ 'Toby Jones is in his comic prime in a retooled Chekhov for our times', ★★★ 'An exhilarating feminist story but big ideas are unevenly executed', ★★ 'Apartheid battle reduced to an odd-couple double act', ★★★ 'Newcomer Jessica Rhodes is magnetic in Lucy Prebble's prescient play', ★★★★ 'Revamped musical opens at London's Sondheim Theatre with added grit', ★★★ 'Forget subtlety — it’s all about the bants', ★★★ 'Fine performances in intellectually strenuous play', ★★★★ 'Revival feels more nimble and resonant than ever', ★★★★★ 'Elena Ferrante's story makes a triumphant transition to stage', ★★★ 'A standout emotional and vocal performance from Sam Tutty', ★★★★ 'This jukebox musical is an absolute blast and features a powerful turn from Miriam-Teak Lee', ★★★★ 'This feel-good extravaganza defies both logic and pessimism', ★★★★ 'It’s not just a physical challenge that’s dramatised, but a moral one too', ★★★★ 'A sure hit that dares to be different', Leopoldstadt review: Tom Stoppard's new masterwork is an early contender for play of the year.

The Merz family are “made” Jewish by history and the Holocaust, and until they are stripped of their wealth and standing, some characters insist they can transcend outsider status. Vienna in 1899 is a forcing ground of art, psychology and mathematics, and also of plans for a Jewish homeland.

“Austrians of Jewish descent.” The family’s various fates deliver lessons in history – one loses his life fighting for his country, others are sent to concentration camps. Until now. Independent Premium Comments can be posted by members of our membership scheme, Independent Premium. • At Wyndham’s theatre, London, until 13 June. Due to the sheer scale of this comment community, we are not able to give each post the same level of attention, but we have preserved this area in the interests of open debate. The most insightful comments on all subjects will be published daily in dedicated articles. It was a self-deprecating tease that acknowledged how some folk used to think that their subject matter (linguistic philosophy in Jumpers, the political implications of art for art’s sake in Travesties) was all a bit of an intellectual pick’n’mix. Start your Independent Premium subscription today. The result was stunning. It is Stoppard's most humane and heart-breaking play. When asked where he picked up the ideas that animate his plays, Tom Stoppard once had the habit of saying “Harrods”. You can find our Community Guidelines in full here. Leopoldstadt is a shiveringly sensual journey through the 20th century, You may not agree with our views, or other users’, but please respond to them respectfully, Swearing, personal abuse, racism, sexism, homophobia and other discriminatory or inciteful language is not acceptable, Do not impersonate other users or reveal private information about third parties, We reserve the right to delete inappropriate posts and ban offending users without notification. “Absolutely,” he answered, though he was more ambivalent about basing it on his personal story. For all its debate and distance, this particular family portrait leaves us bereft at history. There are no explicit modern parallels, but Stoppard makes acute points about the recurrence of ancient prejudices and the narrative of blame and betrayal. The district of Leopoldstadt was the Jewish quarter of Vienna prior to the emancipation of the mid-1860s. The play was deliberately slow, and took much of its force from Rau’s decision to cast a real-life family in the production.

Is full assimilation possible? Then came the emotional watershed of.

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Stoppard explores Jewish identity through the intergenerational story of the urbane and secular Merz family. Biography bled into fiction, the boundary between the real world and the theatre dissolved. Are you sure you want to mark this comment as inappropriate? Kenneth Tynan said of Stoppard: “You must never forget that [he] is an émigré.” Leopoldstadt casts those words in new light as it asks questions about identity that feel live and urgent: how are we defined – and confined – by racial or religious identities? In the extended, bone-chilling act set just before Kristallnacht in 1938, there is no humour, just the steady ticking of a clock.

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Patrick Marber’s production has grand but static set pieces, made up of ideological debate between characters on assimilation, antisemitism, Theodor Herzl’s foundational Zionism and the creation of Israel. When there is drama rather than debate, it is arresting – such as a powerful house repossession scene and an infidelity that has long-term consequences.

Wyndham’s theatre, LondonPatrick Marber directs Tom Stoppard’s sweeping story of a Jewish family in Vienna across six decades, Last modified on Thu 26 Mar 2020 08.26 EDT.

As is his wont, Stoppard imparts a vast amount of information laced with antic cleverness, even as the mood turns ominous. They are made up of businessmen, lecturers and doctors who marry out, celebrate Christmas alongside Passover and appear wholly assimilated in the Viennese society of 1899, when we first meet them. Our journalists will try to respond by joining the threads when they can to create a true meeting of independent Premium. It is by turns wise, witty and devastatingly sad. But Hermann Merz (Adrian Scarborough, never better), a businessman who has converted to his wife Gretl’s Catholic faith, is convinced that assimilation and social advancement are in reach for Jews formerly confined to the Leopoldstadt quarter. It feels wrong to single out individual performances from an ensemble work like this, but Faye Castelow is a finely shaded Gretl alongside Scarborough’s Hermann. Patrick Marber has cast the show with great flair – Adrian Scarborough has never been better than as Hermann Merz and Luke Thallon is stunningly talented as Fritz and Leo, Find your bookmarks in your Independent Premium section, under my profile. Feels alive and urgent … from left, Ed Stoppard, Alexis Zegerman, Faye Castelow and Adrian Scarborough.

Marc Brenner “ Leopoldstadt,” the most slow-burn and personal work of 82-year-old Tom Stoppard ’s long stage and screen career, is an intimate epic. LEOPOLDSTADT is a passionate drama of love, family and endurance. An early contender for play of the year, it’s not perfect: but how refreshing to see a show with too much, rather than too little, to say. As such, there is something momentous about Leopoldstadt, which has the weight and majesty of a final drama. When the action moves to 1924, a lawyer interrupts a circumcision by idly asking for a cigar cutter, before unveiling loathsome nationalist beliefs.

A coda that takes place in 1955 surveys the horror of the Holocaust and the danger of forgetting. However, the characters’ expositional history lessons are jarring, and at times puzzlingly simplistic and leaden. Please continue to respect all commenters and create constructive debates. ... ★★★★ 'Rafe Spall rages through grief and fury in electrifying one-man play' Read our review. The cast is so large that some characters feel scantily sketched although Hermann (Adrian Scarborough) is particularly well-drawn alongside his wife, Gretl (Faye Castelow).

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