Ex-leader of A.C.T. talks about “Leopoldstadt' and the remarkable admission Stoppard makes about his relationship (or lack thereof) to his Jewish past.
, which considers the Jewish identities of these English playwrights. Infusing her personal knowledge of the artists with her practical experience of staging their work, Perloff sheds light on what makes “Leopoldstadt” distinctive yet wholly integrated into Stoppard’s oeuvre.
The more I’ve dug into Stoppard’s biography, the clearer it has become that, in spite of appearing to be a quintessential Englishman, he’s always been an. So many of his plays feature doubles or characters with divided selves , which harkens back to Stoppard’s own fascinatingly bifurcated identity. His work is about thecoupled with the impossibility of ever really knowing, again echoing the story of his own life and his own hidden Jewish past.is everything to Stoppard.
Stoppard has always admired my mother’s work so much — and when he read her memoir “The Vienna Paradox,” about escaping Vienna in 1938, he was captivated. He asked a million questions — about her family, her apartment, the lifestyle, the intellectual circle she grew up in, the lead-up to the Anschluss and the atmosphere in Vienna in the 1930s. In April 2018, Stoppard headlined my farewell gala at A.C.T. and then he and his wife, Sabrina, drove to L.A.
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