Leopoldstadt (Play)

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      Drama, in German, in the Shadow of ‘Leopoldtstadt’

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      New stagings in Germany and Austria, including Tom Stoppard’s latest play, explore the themes of social integration and tolerance that animated the “Jewish question.”MUNICH — “My grandfather wore a caftan, my father went to the opera in a top hat, and I have the singers to dinner,” boasts a character in Tom Stoppard’s “Leopoldstadt,” summing up the rapid trajectory from piety to cultural assimilation that was common among Vienna’s Jews in the late 19th and early 20th centuries.Stoppard’s play, which is running through March at the Longacre Theater in New York, is one of the season’s most discussed productions. In it, the veteran dramatist, veering into explicitly Jewish territory for the first time in his long and decorated career, explores the themes of social integration and the limits of tolerance that made the “Jewish question” one of the flash points of modernity.Seventy years before Stoppard’s fictional Merz family graced the stage, Gabriele Tergit published “The Effingers,” a 900-page novel that traces the fortunes of a Jewish family in Germany over four generations, from 1878 to 1948. Tergit, a German Jewish writer and journalist whose long life spanned much of the 20th century (she died in 1982, in London, at age 88), has undergone a reappraisal recently. When “The Effingers” was reissued in 2019, it became a literary event in Germany; the book was compared to Thomas Mann’s “Buddenbrooks” and even won praise from the country’s president, Frank-Walter Steinmeier. (An English translation, by Sophie Duvernoy, is coming from New York Review Books.)The Münchner Kammerspiele, whose recent programming has highlighted works by unsung female artists, has lost no time in bringing “The Effingers” to the stage. Jan Bosse’s nearly four-hour production is dramatically fluid and visually striking. Aside from the historically accurate costumes, whose changing styles help us keep track of the passage of time, Bosse and his stage designer, Stéphane Laimé, serve us a sleek and spare production that incorporates written and projected dates, historical photographs, family trees and, in one particularly amusing sequence, a car ride in a model manufactured by the Effinger family (brought to life with a green screen).The dozen actors who play the family members, and their friends and enemies, are largely plucked from the Kammerspiele’s permanent ensemble. Among the best are Katharina Bach as the beautiful, artistically talented and doomed Sofie Oppner: Bach invests the character with a blend of charisma, flamboyance and mental instability. Zeynep Bozbay is warm and convincing as Marianne Effinger, who rejects her arriviste family’s lavish lifestyle by devoting herself to charity. She waits in vain for a marriage proposal from one of her brother’s friends; when they meet again, decades later, he has become a convinced antisemite.Yet despite the fine acting and the bold staging, “The Effingers” rarely ignites onstage. Unlike the book, the performing version by Bosse and dramaturge Viola Hasselberg ends before World War II, perhaps to avoid suggesting a sense of tragic inevitability for a family of affluent Berliners who just happen to be Jewish. Though the production teems with life, it also lacks focus and narrative direction. Keeping up with the large, at times chaotic, Effinger clan over a half-century is not consistently rewarding. Perhaps a more judicious selection of scenes would have yielded a more dramatically and emotionally satisfying play. Or maybe a slimmed-down cast (such as in the three-actor tour de force that is “The Lehman Trilogy,” another Jewish family saga) would have resulted in a less cluttered and more absorbing production.From left, Johannes Nussbaum, Lisa Stiegler, Valentino Dalle Mura and Thiemo Strutzenberger in “The Tower,” directed by Nora Schlocker at the Residenztheater in Munich.Birgit Hupfeld“The Effingers,” an epic literary adaptation, is unusual repertoire for the Kammerspiele, where more experimental, chamber-like productions dominate these days. Large casts and extra-long running times, by contrast, are common features down the block at the Residenztheater, which boasts the largest acting ensemble in Germany. This season, dramatic epics like “Angels in America” and “The Inheritance” share the program with Hugo von Hofmannsthal’s “The Tower.” The Austrian Jewish Hofmannsthal, a leading literary figure in fin-de-siècle Vienna, is also one of Stoppard’s touchstones for recreating that period in “Leopoldstadt,” and comes in for high praise in a monologue extolling how Viennese Jews worship culture. “A new writer, if he’s a great poet like Hofmannsthal, walks among us like a demigod,” Stoppard has a character say.Nora Schlocker’s grim, aesthetically distinctive but dramatically stilted production of “The Tower” illustrates some of the difficulties of bringing Hofmannsthal’s work to the stage nowadays. An allegory about political power and the fall of empires, “The Tower” was written in the aftermath of World War I, although Hofmannsthal continued to work on it for nearly a decade. It’s a long play, modeled on an earlier work by the Spanish dramatist Pedro Calderón, about a king who keeps the son who has been prophesied to overthrow him locked up in a tower.Schlocker has radically shortened the play, and the actors (joined onstage by three musicians) play multiple roles, except for Lisa Stiegler, who gives a bloodcurdling, affecting and acrobatic performance as the imprisoned prince, Sigismund. Sumptuous as the play’s language is, it’s a difficult work to make tick dramatically. Schlocker’s deep cuts speed things up (the show clocks in at a mere 100 minutes), though it feels disjointed at times. But the grotesque, ghoulish aesthetic she devises, while effective in places, can seem just baffling and quirky in others.Claus Peymann’s production of Thomas Bernhard’s “The German Lunch Table” at the Josefstadt Theater in Vienna. Philine HofmannFor a shocking and refreshing dose of eccentricity, turn to Claus Peymann’s delirious production of Thomas Bernhard’s equally insane play, “The German Lunch Table,” at the Josefstadt Theater in Vienna. Bernhard, who died in 1989, was the bad boy of postwar Austrian literature, and he loved to thumb his nose at his compatriots for maintaining that they were Hitler’s first victims. For this production of Bernhard’s 1988 play, a vaudeville-like series of seven sketches, Peymann has teamed up with Achim Freyer, who designed the colorful, eye-popping sets and projections.The Josefstadt Theater is known for conventional (and conservative) dramatic fare, but this bonkers staging of a play that seems hellbent on offending its audience is anything but. Bernhard’s sketches all deal with Nazism surfacing in quotidian interactions and with society’s failure to work through the past. In one, politicians who are contestants on a TV quiz show brag about being “National Socialists at heart.” In another, elderly couples gather to celebrate the acquittal of a friend who was on trial for crimes against humanity committed at a Nazi concentration camp.As luck would have it, “The German Lunch Table” is in repertoire at the theater along with the first German-language production of “Leopoldstadt.” That Stoppard’s haunting ode to the vanished Viennese Jewish world should play alongside Bernhard’s incendiary indictment of postwar Austrian repression and hypocrisy feels appropriate, in a sly and mischievous way.Effingers. Directed by Jan Bosse. Through Feb. 3 at the Münchner Kammerspiele.Der Turm. Directed by Nora Schlocker. Through Jan. 18 at the Residenztheater Munich.Der deutsche Mittagstisch. Directed by Claus Peymann. Through March 27 at the Theater in der Josefstadt in Vienna. More

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      Review: In Stoppard’s ‘Leopoldstadt,’ a Memorial to a Lost World

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      The Viennese Jewish family at the heart of this new Broadway production thinks it is too assimilated to be in danger when the Nazis arrive. They are wrong.In November 1938, in Vienna, life chez Merz — the reciting of books, the games of cat’s cradle, the polished renditions of Haydn at the piano — proceeds with only brief interruptions despite the nearby sounds of broken glass. But then comes the rap at the door. The pianist, Hanna (Colleen Litchfield), goes to answer it and hastily returns.“Trouble,” she hisses.With that one word, the hinge of history swings open upon the abyss.It is also the word that turns “Leopoldstadt,” the harrowing new Tom Stoppard play that opened on Sunday at the Longacre Theater, from a domestic comedy into a Greek drama. What had been until then a loving portrait of Austrian Jewish bourgeois society in the years before the Anschluss — the play begins in 1899 and will follow the family through 1955 — becomes, as the Nazis enter not just the Merzes’ homeland but their home, a portrait of that society’s self-delusion. The cosmopolitan, intermarried and profoundly cultured clan, given less than a day to pack for a future most will not survive, finally understands that, for Jews, history has no hinge; the abyss is always open.Whether complacency is a moral failing, as “Leopoldstadt” seems to argue, is a vexing question. In the play’s first three acts — it has five, each set in a different year and performed without intermission over the course of 2 hours and 10 minutes — Stoppard posits the Merzes, and their relatives-by-marriage, the Jakoboviczes, as golden examples of assimilation. Hermann Merz (David Krumholtz), the wealthy businessman in whose apartment near the fashionable Ringstrasse the story unfolds, has even converted to Catholicism as a kind of insurance. One of the always ambient children is confused enough about the distinctions between Jew, gentile and Austrian to top the family’s Christmas tree with a Star of David.Austrian gentiles are not confused, though. Antisemitic slights and violence are frequent enough that even the Merzes take notice. In 1899, the adults are already arguing the merits of Theodor Herzl’s plans for a Jewish homeland in Palestine. But all signs, at least the cultural ones valued by the bourgeoisie, point to progress. Brahms has visited their home; Mahler, though “wet from his baptism,” is still “our man.” Klimt is painting Hermann’s wife, Gretl (Faye Castelow). And the playwright Arthur Schnitzler has inscribed a private copy of “La Ronde” to Hermann’s brother-in-law, Ludwig (Brandon Uranowitz), a mathematician being analyzed by Freud.As Stoppard flips through this Rolodex of Viennese machers, you may recognize his trademark bravura: tossing you into the deep end of his imagination, trusting that you’ll eventually surface. In this case, it’s a very deep end: By my count, 31 characters appear in “Leopoldstadt,” 24 of them members of the extended Merz-Jakobovicz clan. Even if you’ve studied the family tree available on the play’s website, it’s impossible to keep them sorted when they themselves are confused. “She’s my … my sister-in-law’s sister-in-law,” Gretl ventures of Hanna. “I think.”From left: Brandon Uranowitz, Caissie Levy, Faye Castelow and David Krumholtz.Sara Krulwich/The New York TimesBut just when you fear you know too little, you realize you actually know too much. In “Leopoldstadt,” Stoppard takes dramatic irony — the audience’s grasp of what the characters cannot see — to such an extreme that it becomes the subject itself. It applies here not only to tangled relationships and romantic betrayals but to the larger tangles and betrayals of fate; if you’ve heard of Kristallnacht, you will be waiting for that rap on the door and wondering, perhaps unfairly, why the Merzes aren’t. But it’s mostly hindsight that has taught us what happened to Viennese Jews of that vintage.That we remain in suspense anyway is partly the effect of Stoppard’s kaleidoscopic technique, seducing us with manifold pleasures like that boisterous Christmas party in 1899, a polyphonic Passover in 1900, a farcical circumcision in 1924. Much as he has done in earlier plays with the metaphysical juggling acts of poets, revolutionaries and philosophers, he arranges the domestic affairs of these bourgeois characters into highly detailed and glittering patterns, like snowflakes seen under a magnifying glass.But “Leopoldstadt” is not quite as tightly constructed as “Arcadia,” say, or “Jumpers” or “Travesties”; it has too many themes to wrangle, and some dense historical exposition is unconvincingly disguised as small talk. As such, the play leans more than usual on a handsome, foreboding, smartly calibrated production. The acting is excellent across the board, with too many standouts to name. The director Patrick Marber’s deep-focus staging keeps all the stories going at once on a set by Richard Hudson that fairly gleams with honeyed smugness under Neil Austin’s lights. And Brigitte Reiffenstuel’s costumes make you long for the elegance of prewar fashions until you are brought up short by remembering what happened to those who wore them.Even without any overt violence, the Kristallnacht scene, with its shiny blond monster calling the Jewish children a “litter,” is thus brutal, wiping away all the beauty in seconds. But the play’s argument and its likely source in Stoppard’s own life does not really emerge until the scene that follows, set in 1955. It is then, as Vienna prepares to open its new postwar opera house with an ex-Nazi on the podium, that we are explicitly asked to consider the connected problems of historical memory and premonition. Is it a corollary of the warning that we must never forget the Holocaust that we must always expect it again?Uranowitz, right, with Arty Froushan, whose character is ignorant of his Jewish relatives. “You live as if without history, as if you throw no shadow behind you,” Uranowitz tells him.Sara Krulwich/The New York TimesStoppard, no doubt noting the resurgence of antisemitism today, seems to argue for that, painting complacency as a kind of hubris. In the play’s cosmology, more unforgivable than its shiny blond monsters is a callow 24-year-old Jakobovicz family survivor — he too is blond — we meet in this final act. Born Leopold Rosenbaum, he is now called Leo Chamberlain, having adopted the last name of his English stepfather because his mother, he says, “didn’t want me to have Jewish relatives in case Hitler won.” Leo (Arty Froushan) has written two “funny books” and is so ignorant of those Jewish relatives that one of them, a second cousin who survived the camps, cannot hold his tongue. “You live as if without history,” he spits, “as if you throw no shadow behind you.”This is not autobiography, but it’s close enough. Tom Stoppard was born Tomáš Sträussler, in Czechoslovakia, receiving his new last name just as Leo does, from an English stepfather. He started writing his first funny plays in his early 20s. He came very late to a full understanding of his Jewishness, including the murders of family members in Nazi death camps. You need not equate him exactly with his stand-in to see that in “Leopoldstadt,” by punishing Leo for his belatedness, he is punishing himself for his own.The play begins in 1899 and follows the family through 1955. Sara Krulwich/The New York TimesThe last scene is thus a strange one: powerful, painful and masochistic by implication. But I was left wondering whom its argument was meant for. There are of course people who do not believe the Holocaust happened; I doubt they will see the play.And then there are those in no danger of forgetting, for whom the names of the camps, as intoned in the final moments, are as ingrained as the hypnotic babble of grief we call the Mourner’s Kaddish.That leaves only those who live in the bubble in between, who both know and don’t know. Stoppard seems to place himself there, along with the Merzes, whose refusal to believe the worst led them directly to it.As I would surely have done no better in their circumstances, I cannot bring myself to blame any of them. Not even Tomáš Sträussler. But the uncommonly bitter and personal focus in that final scene makes the play feel a bit unstable, teetering like an upside-down pyramid on its smallest point. “Leopoldstadt” is at its best not in instructing us how we must mourn a lost world but in bringing it lovingly back to life.LeopoldstadtThrough Jan. 29 at the Longacre Theater, Manhattan; leopoldstadtplay.com. Running time: 2 hours 10 minutes. More

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      92NY’s New Season Includes Ian McEwan and Tom Stoppard

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      The fall season also features Ralph Fiennes, Chimamanda Ngozi Adichie, Katie Couric and Ken Burns.Chimamanda Ngozi Adichie, Katie Couric and Ralph Fiennes are among the array of actors, authors and dancers who will feature in the 92nd Street Y, New York’s upcoming fall season.“It was very important coming out of Covid and coming now into the 2022-23 season to really make a statement that we’re back,” Seth Pinsky, the organization’s chief executive, said of the programming. (The cultural institution has an updated name this year and is known as 92NY, for short.) “Every night is going to be something different, something stimulating.”In a nod to T.S. Eliot, Fiennes will read “The Waste Land” (Dec. 5) on the very stage where Eliot read the poem in 1950. The reading will coincide with the centenary of the poem, which was published in December 1922.Slated early in the season is Jann Wenner, the founder of Rolling Stone, who will speak about his new book, “Like a Rolling Stone: A Memoir,” in a conversation with his longtime friend Bruce Springsteen (Sept. 13).The following day, the filmmakers Ken Burns, Lynn Novick, Sarah Botstein and Daniel Mendelsohn will preview their forthcoming documentary series, “The U.S. and the Holocaust,” followed by a panel moderated by the journalist and podcast host Kara Swisher.The playwright Tom Stoppard, in what is believed to be his only New York talk of the season, takes the stage on Sept. 18 for a discussion about his new play, “Leopoldstadt,” with the German author and playwright Daniel Kehlmann.On Sept. 12, Couric, the journalist and author, will discuss her book “Going There,” with the New York Times investigative reporter Jodi Kantor. Also on the lineup are the Booker Prize winner Ian McEwan, who will read from his new novel, “Lessons” (Sept. 19); the Nigerian novelist Adichie reading from her new memoir, “Notes on Grief,” with the memoirist and CNN anchor Zain Asher (Sept. 11); and Joshua Cohen discussing his Pulitzer Prize-winning novel “The Netanyahus” (Dec. 12).Last year, the Harkness Dance Center at the 92NY brought dance back to its stage. That tradition continues with the tap dancer Leonardo Sandoval and the composer Gregory Richardson (Dec. 22), and a celebration of the late dancer and choreographer Yuriko Kikuchi (Oct. 27), among other performances.The schedule will continue to be filled out with new events over the course of the season. The venue plans to continue requiring proof of vaccination for all attendees; masking requirements will be determined in the coming weeks.A full lineup can be found at 92ny.org. More

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      A Homecoming, of Sorts, for Viennese Plays

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      Two recent British dramas with Austrian roots made it to Vienna this season: “Leopoldstadt,” by Tom Stoppard, and Robert Icke’s “The Doctor.”VIENNA — Leopoldstadt is the name of a central Viennese district with a large Jewish population. It is also the title of Tom Stoppard’s 2020 Olivier Award-winning play, which opened on the West End shortly before the start of the pandemic.Two and a half years after its London premiere, “Leopoldstadt,” a multigenerational saga of an Austrian Jewish family’s triumphs and tragedies in the first half of the 20th century, has made it to Vienna, where it received its German-language premiere this spring at the Theater in der Josefstadt in a handsome and effectively traditional staging by Janusz Kica. (It will return to the repertoire in December. The London production will transfer in the fall to Broadway, where it will run at the Longacre Theater.)It is a fitting irony that none of “Leopoldstadt” actually takes place in Leopoldstadt, since many of its characters try — and fail — to escape the perceived stigma of being Jewish by reinventing themselves as Austrians.When I saw “Leopoldstadt” in London, I wondered how Viennese audiences would react to Stoppard’s fictional exploration of their history and culture. In particular, I was curious whether his re-creation of culturally oversaturated fin de siècle Vienna, a vanished world that continues to fascinate, would convince an audience more familiar with that glittering epoch. Especially in the first half, set around 1900, Stoppard wears his learning and erudition on his sleeve; at times, the amount of historical and cultural detail that peppers the dialogue threatens to derail the play, with its nearly 30 characters and unusually knotty structure.The closest thing Stoppard gives us to a conventional protagonist is Hermann Merz, an affluent textile manufacturer who has largely shed the traditions of his rag-peddling forebears and entered high society. The Merz clan is a motley bunch who celebrate Christmas and Passover with both relish and irreverence. Baptized and married to a Catholic woman, Hermann nonetheless boasts of the Jews’ colossal contribution to culture, without which “Austria would be the Patagonia of banking, science, the law, the arts, literature, journalism,” he says.Listening to Adrian Scarborough, who played Hermann in the London production, recite Hermann’s triumphalist speeches with bluster, I winced a little. Yet the lines sounded considerably less forced in the mouth of Herbert Föttinger, who played the character in Vienna, and in a faithful and fluid translation by the German novelist Daniel Kehlmann. It’s largely a question of temperament. Scarborough played Hermann as a nouveau riche climber who is both haughty and insecure, while Föttinger portrayed him as suave and self-possessed. We believe him when he observed approvingly that Vienna’s middle-class Jews “literally worship culture.” Föttinger’s elegance and poise at the start of the play helped make Hermann’s subsequent humiliations and his ultimate downfall all the more tragic. When an Austrian officer who had a fling with Hermann’s wife, Gretl, refused a duel with Hermann on the grounds that a Jew is born without honor and hence can’t demand satisfaction for an insult, we understood that this offense wounded Hermann more than his wife’s infidelity.Another ensemble scene in “Leopoldstadt,” which takes place in Vienna.Moritz Schell Hermann Metz epitomizes the worldview of a confident minority who had found acceptance and success in a culture that was an artistic, intellectual, scientific and political hotbed. (Sigmund Freud, Gustav Mahler, Arnold Schoenberg and Arthur Schnitzler are all name-checked.) The way Stoppard conjures the milieu of assimilated Jews in the Austro-Hungarian Empire owes much to writers of the period, including Schnitzler and Stefan Zweig, whose posthumously published memoir, “The World of Yesterday,” is perhaps the most evocative and nostalgia-drenched chronicle of the era.“Leopoldstadt” leaps from the early 1900s to the years after World War I and from there to Kristallnacht, the anti-Jewish pogrom that the Nazis orchestrated throughout the Third Reich on Nov. 9, 1938. The pinging around is meant to be disorienting as we visit characters we last saw decades earlier — as well as some new arrivals — in radically changed historical contexts. In its latter half, “Leopoldstadt” finds itself on unsure footing only once. In a scene set in 1924, the family members discuss the Great War, the carving up of Austria in its aftermath, and the messy politics and competing ideologies of the interwar period. In London, I felt that the scene merely struggled to dramatize its themes; here it felt more awkward, and even redundant, as if Stoppard were lecturing the Viennese about their own history.Stoppard’s masterful final scene, in which the three remaining members of the Merz family reunite in 1950s Vienna, was sensitively directed and acted, but many of its revelations were less persuasive in German than in English. One of the family members, Leo, has been raised in England and, crucially, has no memory of his early life in Vienna. (Thus it’s a strain to imagine that he would speak perfect German without an accent.) Now a young man, he is a writer of some renown. In a painful reunion with his cousins — a New York psychoanalyst and a mathematician who survived the Holocaust — long-suppressed memories are dredged up and the past superimposes itself on the present in unexpected and haunting ways.Remarkably, “Leopoldstadt” isn’t the only recent British play with Austrian roots that made it to Vienna this season. Earlier in the year, the Burgtheater mounted the German-language premiere of “The Doctor,” Robert Icke’s 2019 rewrite of Arthur Schnitzler’s “Professor Bernhardi,” which was first seen at the Almeida, the London playhouse that Icke used to run.Sophie von Kessel, seated at right, as the title character defending herself before a panel on television in “The Doctor,” Robert Icke’s rewrite of Arthur Schnitzler’s “Professor Bernhardi,” at the Burgtheater.Marcella Ruiz CruzSchnitzler’s play, first performed in 1912, is an indictment of the Austrian antisemitism that Hermann Merz naïvely takes to be a thing of the past. The most conspicuous change that Icke, who also directed the production, makes in his version is a gender switch central to his reimagining and updating of the piece.Like Schnitzler’s prickly male protagonist, “The Doctor’s” lead character, Dr. Ruth Wolff (Sophie von Kessel in a tour de force performance), finds herself under attack for refusing to let a priest administer last rights to a delirious patient who is unaware that her end is near. In the original, Professor Bernhardi becomes the target of an antisemitic media campaign. In Icke’s retelling, Dr. Wolff becomes the victim of virulent social media attacks that smack more of misogyny. She defends herself against the anonymous online mob by appearing on television to debate a sanctimoniously woke panel. All this gives Icke ample opportunity to skewer cancel culture, identity politics and political correctness, although the satirical and the sincere often coexist uneasily, especially when his supporting characters moralize tediously. At the same time, the colorblind and “gender blind” casting challenges the audience to look past race and sex and reflect on the play’s moral conundrums impartially.As with Stoppard and “Leopoldstadt,” “The Doctor” feels like something of a homecoming: a Viennese return for a contemporary play rooted in the world of yesterday.Leopoldstadt. Directed by Janusz Kica. Theater in der Josefstadt.Die Ärztin. Directed by Robert Icke. Burgtheater Wien, through June 13. More

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      Tom Stoppard’s ‘Leopoldstadt’ Will Open on Broadway This Fall

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      The play, about a Jewish family in Vienna in the first half of the 20th Century, will begin previews Sept. 14 and open Oct. 2 at the Longacre Theater.“Leopoldstadt,” Tom Stoppard’s much-heralded and uncharacteristically personal play about an early-20th-century Jewish family in Vienna, is coming to Broadway in September, bringing an unusually large cast and a pointed reminder of the perils of antisemitism to the New York stage.Stoppard, 84, is one of the great dramatists of recent decades; his four best play Tony Awards, for “Rosencrantz and Guildenstern Are Dead,” “Travesties,” “The Real Thing” and “The Coast of Utopia,” are the most of any playwright in Tonys history. “Leopoldstadt” will be the 19th production of a Stoppard play on Broadway since 1967.“Leopoldstadt,” which begins in 1899 and continues through, and past, the two World Wars, chronicles 50 years in the life of one family. It is inspired by, but does not depict, Stoppard’s own family history; he was born in Czechoslovakia in 1937, but fled to Asia with his family when he was a toddler, has spent much of his life in Britain, and only learned some details of his heritage in the 1990s.“It’s two extraordinary hours where you go through this time and this exploration of a family: what they have to face, and how they come out the other side and deal with their past, cope with their present and think about their future,” said Sonia Friedman, a lead producer. “Being Stoppard it’s complex, but also incredibly emotional.”The Broadway production, with a cast of 38, is scheduled to begin previews Sept. 14 and to open Oct. 2 at the Longacre Theater. Friedman, who produced the Tony-winning best plays of the last three seasons before the pandemic, is producing “Leopoldstadt” with Roy Furman, another Broadway veteran, and Lorne Michaels, the “Saturday Night Live” creator.“Leopoldstadt” began its life with a production in London’s West End in 2020 directed by Patrick Marber, which won praise from the New York Times critic Ben Brantley; that run, which was cut short by the coronavirus pandemic, won the Olivier Award for best new play. The play then returned to the West End last year for a brief but profitable run.In New York it is again being directed by Marber, who also directed the last Broadway production of a Stoppard work, a 2018 revival of “Travesties.” In a phone interview, Marber said that he was looking forward to a third go at the material, following the London runs.“It’s a surprisingly enjoyable play to direct — even though it’s very painful and sad, it’s also full of lightness and laughter,” he said. “It’s fundamentally about memory, and time and love. But it’s also about fascism and immigrants and refugees. It’s about everything — it’s Stoppard.”Marber said that Stoppard has continued revising the play for New York, where he said he expects the play to resonate differently because of the ongoing war in Ukraine. “With any play, what’s happening in the real world affects the way you watch it,” he said. “Different things will pop out.” More