Tom stoppard

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.