Vienna in 1899 is a forcing ground of art, psychology and mathematics, and also of plans for a Jewish homeland. The existing Open Comments threads will continue to exist for those who do not subscribe to Independent Premium. Here is his Jewish play – not directly based on Stoppard’s family, but he says it’s his most personal play and perhaps his last. Performance dates & times Leopoldstadt is not available to book, please sign up to our newsletter for updates and offers on forthcoming and available shows. Are you sure you want to mark this comment as inappropriate? Gradually, he and his extended, intermarried family learn that this is not the case. 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. However, the characters’ expositional history lessons are jarring, and at times puzzlingly simplistic and leaden. And Luke Thallon excels as both a cocksure Aryan officer and an escapee from the Holocaust shorn, as Stoppard was, of his heritage. It is by turns wise, witty and devastatingly sad. The play was deliberately slow, and took much of its force from Rau’s decision to cast a real-life family in the production. It is grand, contemplative and elegiac with a cast of more than 20 and a historical sweep across six decades. 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. Grand but static … Leopoldstadt at Wyndham’s theatre. 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. 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. Want an ad-free experience?Subscribe to Independent Premium. When asked where he picked up the ideas that animate his plays, Tom Stoppard once had the habit of saying “Harrods”. A screen brings us dates to mark history and black-and-white pictures that always return to the image of a family portrait. Buy tickets for Leopoldstadt with GO London, Wyndham's Theatre Then came the emotional watershed of. You can also choose to be emailed when someone replies to your comment. the 1997 play that is my personal favourite and that I thought was his masterpiece. It is Stoppard's most humane and heart-breaking play. The off-stage action has a searing effect thanks to Adam Cork’s sound design, from the smashing of glass that signifies Kristallnacht to the screeching of fighter planes and stomping of boots. His questions about national or cultural identity are similarly pertinent. 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. 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. It springs to astonishing dramatic life in a … Then came the emotional watershed of Arcadia (1993) and The Invention of Love, the 1997 play that is my personal favourite and that I thought was his masterpiece. Create a commenting name to join the debate, There are no Independent Premium comments yet - be the first to add your thoughts, There are no comments yet - be the first to add your thoughts. 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). Aged 82, Tom Stoppard delivers a late masterwork with this story of a Viennese Jewish family from 1899 to 1955, teeming with humanity and history, and inspired by his own Jewish heritage. Stoppard explores Jewish identity through the intergenerational story of the urbane and secular Merz family. Our journalists will try to respond by joining the threads when they can to create a true meeting of independent Premium. Aaron Neil and Rhys Bailey in Leopoldstadt. Are you sure you want to delete this comment? Until now. “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. 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 figure of Ludwig, a mathematician played by Ed Stoppard, we recognise the familiar theme of science that has long preoccupied the playwright’s characters. There is no separating the artist and the art in Tom Stoppard’s new play Leopoldstadt, either. • At Wyndham’s theatre, London, until 13 June. It is a serious and dark play, although there are a couple of classic Stoppardian zingers, including one for the ages in which a banker is confused with a mohel. The presence of the author’s son Ed in the cast, playing a monomaniac mathematician, sets a nice seal on a work that is wide-ranging yet intensely personal. LEOPOLDSTADT is a passionate drama of love, family and endurance. 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. Only a decade earlier, he had found out he was fully Jewish and that many of his Czech family had died in Nazi concentration camps. 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. When, finally, the past walks into the present, we are given brief descriptions of each character’s death – “Auschwitz”, “Dachau”, “death march” – the list goes on and on and is deeply tragic. There are no explicit modern parallels, but Stoppard makes acute points about the recurrence of ancient prejudices and the narrative of blame and betrayal. Independent Premium Comments can be posted by members of our membership scheme, Independent Premium. Start your Independent Premium subscription today. When the action moves to 1924, a lawyer interrupts a circumcision by idly asking for a cigar cutter, before unveiling loathsome nationalist beliefs. 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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