| That's an interesting observation, because usually I would agree with you! And let me be clear, I respect your opinion, of course, and I'm glad you shared it. I have dear friends who didn't like this play at all, and one of them, when I was RAVING years ago about the original production of Arcadia in London (still one of the greatest plays I ever saw), lay down on the carpet and covered her face and yelled, "Stop talking bout that fucking play!" So, I get it that a lot of people don't like Stoppard. The first time I saw one of his plays was in college, when The Real Thing was trying out in Boston. I thought, "All the characters, even the daughter who's a teenager, are speaking exactly the same way." He is definitely a writer where a LOT is spoken, rather than dramatized. But then I grew to (mostly) love his work. I think he does something that is all his own. I like the excitement for ideas (in the case of Leopoldstadt, mathematical ones) that permeate his plays. |
