A grandmother makes a depressing observation early on in Tom Stoppard’s latest play “Leopoldstadt,” which opened Sunday night on Broadway. Staring mournfully at an old photograph, she says, “Here’s…
A grandmother makes a depressing observation early on in Tom Stoppard’s latest play “Leopoldstadt,” which opened Sunday night on Broadway.
That hard truth really stings in Stoppard’s creaky though sporadically moving drama that has arrived in New York from London. 2 hours and 10 minutes with no intermission. At the Longacre Theatre, 220 West 48th Street. The pages of Stoppard’s drama, loosely inspired by the British playwright’s own family, slowly flip like a hefty fading photo album, too, and while that strikes an appropriate tone it also creates a theatrical problem. When we arrive at the shattering ending scene — a paralyzing moment of repressed memory and confronting the past — we’ve forgotten half of the people we met along the way.
Stoppard explains the societal complacency and changing political tides that allowed Nazism to overtake Austria and Europe; his voice boxes debate the founding of Israel; they question why somebody would abandon their Jewish identity and convert to Catholicism before the risk to their life was obvious; and he still finds some air to provide an exhaustive family history . And, of course, being Stoppard there are plenty of intellectual spats and chatter about math scattered throughout.
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