Stoppard, Tom

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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

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      A Day of Divas

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      Two star sopranos, Renée Fleming and Sonya Yoncheva, held court in two of New York’s grandest venues on Sunday.A little imperiousness? A lot of extravagance? A touch of the supernatural?You could try to come up with the recipe for a diva, but you just know one when you see it. Or hear it: In an appraisal of André Leon Talley this weekend, the New York Times fashion critic Vanessa Friedman described his words as those “of a diva, uttered at a time when divas were going out of style.”Out of style, perhaps, but not out of existence. In fact, I read that appraisal on Sunday as I was getting ready for a day of rare diva alignment, with two star sopranos holding court in two of New York’s grandest venues: Renée Fleming at Carnegie Hall in the afternoon, and Sonya Yoncheva at the Metropolitan Opera in the evening.If you were looking for evidence of the demise of the diva — at least of the stereotypical variety — it’s true, neither of these seemingly genial, generous women came across as imperious. And clutch your pearls: Fleming didn’t even change gowns at intermission.But divadom still shows signs of life. It’s in tiny things, like this sentence in the program at Carnegie: “Ms. Fleming’s jewelry is by Ann Ziff for Tamsen Z.” And at the Met, when Yoncheva sang the phrase “ta première larme” (“your first tear”) in a Chausson song, she slowly raised her hand to her face, as if she really believed she was wiping that larme away. Sometimes, even in opera, it’s the gesture that makes the diva.In a gesture of becoming modesty, Fleming shared a reasonably crowded stage for the most prominent part of her concert: the New York premiere of “Penelope,” an account of the wife who waits very, very patiently for Homer’s Odysseus to return from the Trojan War.The soprano Renée Fleming, center, was joined on Sunday at Carnegie Hall for the New York premiere of André Previn and Tom Stoppard’s “Penelope” by (from left) the pianist Simone Dinnerstein, the Emerson String Quartet and the actress Uma Thurman.Chris LeeLeft unfinished at the death of its composer, André Previn, in 2019, the piece was stitched together from manuscript sketches and drafts of Tom Stoppard’s text. The 40-minute result is as talky as a Stoppard play but far less sparkling or affecting. Its tone mostly pseudo-archaic, this is pretty much just an “Odyssey” in extreme digest, lightly backed by the Emerson String Quartet and the pianist Simone Dinnerstein.There are so many words that many of them were assigned to be spoken, to shorten the running time. Thus the title role was split between a singer and an actress (at the premiere three years ago and here, the movie star Uma Thurman).Thurman is a natural at intoning amid the wispy thatches of underscoring, and she sometimes tries to inject some attitude into the dry libretto. But it’s never quite clear why the role has been divided. Couldn’t a single performer just shift between speaking and singing? The bifurcation works only to dilute interest in both parties.Fleming is game, even if she doesn’t get to take lyrical flight: The soprano part is almost entirely recitative — sung narration — and never blossoms into aria or gives us any real sense of Penelope’s character or emotions. There are reminders of Previn’s stylish facility, as when a quietly swirling little quartet interlude slips into a minor-key whisper of “Here Comes the Bride” before modulating, almost quicker than you can hear it, into gentle satisfaction. But mostly the music seems scant and exhausted trying to keep up with Stoppard.It followed intermission; earlier, the Emerson played Barber’s 1936 Quartet, dedicating it from the stage to Roger Tapping, the superb Juilliard Quartet violist, who died last week. Dinnerstein rolled out the deliberate arpeggios and rushing surges of Philip Glass’s “Mad Rush,” and accompanied Fleming in a set of five songs altogether more memorable than “Penelope.” The first, Grieg’s lively “Lauf der Welt,” didn’t play to this singer’s mellow strengths, but his “Zur Rosenzeit” very much did.Fleming is 62, but there is still considerable richness in the middle of her voice, and her dips into low notes were done cleanly, without the syrupy scooping for which she was once often criticized. In the wistful quiet of “Zur Rosenzeit” she was moving, almost vaporizing the second syllable in “meinem Garten” (“my garden”) for the touching effect of the past vanishing as she remembered it. Fauré’s “Les Berceaux” had discreet, dusky power.And she was earnestly impassioned in “Evening,” Kevin Puts’s new setting of a Dorianne Laux poem, most charming in a middle section with a Joni Mitchell vibe: a deliberate, repetitive piano riff anchoring a free and easy vocal line. (Fleming takes the Meryl Streep role in Puts’s coming operatic adaptation of “The Hours.”)Yoncheva’s solo recital on the Met stage was a sign that she had swiftly risen to become one of the company’s core artists.Ken Howard/Met OperaAt the Met, Yoncheva was given one of the dearest gifts the company can bestow on a valued artist: a solo recital on its stage. And at 40, she has become valued with dizzying swiftness. Though she jumped into a few memorable revivals starting in 2013, it was only when she opened the 2015-16 season, in Verdi’s “Otello,” that she cemented her place in this house; at the end of February, she will star in a new production of “Don Carlos.”On Sunday she displayed the ease with which she can fill even the vast Met with an encompassing mood: darkly nostalgic and death-haunted, as you’d expect from her melancholy repertory. Even her sensuality brooded, compellingly joyless; Malcolm Martineau’s relative effervescence at the piano placed her gifts in high relief.Her voice is supple but lean. It feels like an instrument, in the most literal sense: a vehicle of expression rather than a remarkable sound in its own right. It has a low center of gravity and a quality of intimacy; Yoncheva gives the sense of singing to herself even when she’s not being soft.As she began with a set of French songs by Duparc, Viardot, Chausson, Donizetti and Delibes, her high notes were thin and stiff. Indeed, throughout the evening those notes above the staff were a problem, mostly when she had to rise to them through a long musical line. Stabbed out of the air, loud ones had startling fullness and clarity.But from the first number — Duparc’s “L’Invitation au voyage” — her interpretive intentions were intriguing, as she stretched the poem’s vision of “luxury, calm and delight” into a clear, forbidding premonition of the afterlife. With Yoncheva, details are everything: In Duparc’s “Au pays où se fait la guerre,” the repetitions of “son retour” (“his return”) at the end of each verse had a different gauzy texture, subtly increasing the complexity and tension of the illusion that a lover will come back.A silvery sheen to “printemps” in Chausson’s “Le temps des lilas” gave a brief impression of dewy spring; there was grandeur in Donizetti’s “Depuis qu’une autre a su te plaire” without overkill. The Spanish-style ornaments in Delibes’s “Les filles de Cadix” weren’t dashed off for smiles, but were sung with intensity, turning what could be a throwaway number into an unlikely burning drama.In a second half of Italian songs, Yoncheva was dreamy in Puccini, though her voice wanted greater size and juiciness to fill out her epic conception of “Canto d’anime.” In works by Martucci, Tosti and Verdi, her phrasing had confidence and style, a carefully constructed but persuasive evocation of naturalness; though she had a music stand in front of her throughout the evening, she sang with focus and commitment.Tosti’s “Ideale” was particularly striking, its finale building from faintness to climax. Warmly received, she moved to classic arias for encores: a refreshingly unsappy “Donde lieta uscì” from “La Bohème”; a genuinely sexy, insinuating “Carmen” Habanera; and “Adieu, notre petite table” from “Manon,” tenderly mused.Oh, and she spent the first half in a black gown, billowing above the bodice, and the second in white — shiny satin throughout, a dream of a diva. More

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      Renée Fleming and Uma Thurman Share an Odyssey

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      The actress and opera star come together in “Penelope,” a Homeric monodrama by André Previn and Tom Stoppard, at Carnegie Hall.When the polymathic musician André Previn died in 2019, he left behind an unfinished score: “Penelope,” a monodrama he was writing for the star soprano Renée Fleming.It was set to premiere that year at Tanglewood to celebrate Previn’s 90th birthday. Instead, the performance became, “as it were, in memoriam,” the playwright Tom Stoppard, who wrote the work’s text, said in a recent interview.That the premiere happened at all was something of a miracle; the incomplete score’s pages weren’t even in an easily discernible order. But David Fetherolf, Previn’s longtime editor, reconstructed and completed the piece, then published a final version after the Tanglewood performance. And now the original performers — Fleming; the pianist Simone Dinnerstein; the Emerson String Quartet; and the actress Uma Thurman, as Fleming’s speaking avatar — are reuniting to bring “Penelope” to Carnegie Hall on Sunday.Previn and Stoppard had collaborated before, on the 1977 play “Every Good Boy Deserves Favour,” but Stoppard said that he was reluctant to take on a project like “Penelope” because “I don’t really have any musical intelligence.” Still, Fleming — for whom Previn had composed works including the opera “A Streetcar Named Desire” — kept asking for a monodrama, and Previn eventually persuaded Stoppard to do it.What Stoppard came up with was a retelling of Homer’s “Odyssey” from the perspective of Penelope, Odysseus’ wife, who waits 20 years for her husband to return from the Trojan War and fends off scores of suitors ready to take his place.“The only idea I had about her was that she starts off by resenting the way that she’s perceived by posterity,” Stoppard said. “The first couple of pages are quite slangy, modernistic and ironic, and even sarcastic. I wanted to end up with a feeling which was not about any kind of grievance she was holding, but about the pain she had gone through. And I wanted to account for her being a byword for wisdom.”If set to music, Stoppard’s original draft would have run for about two hours, Fleming said during a recent video interview with Thurman. As a solution, the piece evolved to portray Penelope with two performers: one singing, one speaking. “Both the soprano and the narrator are Penelope, and should be presented as such,” Fetherolf notes in the published score.Fleming, left, and Thurman, right, with the pianist Simone Dinnerstein and the Emerson String Quartet at the 2019 premiere of “Penelope” at Tanglewood.Hilary ScottThe two performers pass the narrative back and forth, sometimes completing each other’s sentences — the sung part poetically spare (at least relatively, given Stoppard’s idiosyncratic verbal complexity), the spoken one elevated and melodic. In the interview, Fleming and Thurman discussed sharing the role, and what it means to tell Penelope’s story today. Here are edited excerpts from the conversation.Renée, you have been involved with this from the start, but Uma, what was the appeal of the project for you?UMA THURMAN Renée. And Tom, whose work I have known all my life, and who I met when I was a teenager and was sort of daunted by his work and his beautiful, complex use of language.RENÉE FLEMING Uma, the fact that you were involved was so perfect. You are the archetype. You just stand for everything that we imagine Penelope to be, in your professional persona. I think of you as a Greek goddess: her strength, her ability to say no for 20 years and be clever and work around all of these men. I really cannot think of anybody better to do this with.THURMAN It was very hair-raising: I was in this play at Williamstown when we performed “Penelope” at Tanglewood, and I was stepping into the situation of Tom’s muscular, articulate language inserted into the music.Whenever music and language meet, it’s so different from being in a drama or comedy in theater. When you put language to music, it becomes very specific: the pacing, the dividing of words and sentences; it all has to obey the music. It’s a challenge that makes me feel like I’m doing things for the first time, as if you had to fix a bicycle and then you had to go work on a plane. You need the same skill set, but it doesn’t feel like it.FLEMING When I’ve done theater, even musical theater, I have felt completely untethered because I didn’t have the musical framework. It was terrifying to me; there was so much space.THURMAN It’s kind of like a white space. But actually there has to be an architecture inside of it. In this piece, we do switch between those two disciplines and mediums in a beautifully compact way.The spoken text is nevertheless quite musical. What goes into bringing that out in the delivery?THURMAN It’s a lot of breaking things down into patterns of vowel sounds and muscular nouns that paint pictures, and finding tempo and space. This comes from circling vowels and choosing T’s and these kinds of things. But in general, I think that Tom Stoppard’s use of language is elevated. He has a vocabulary triple the normal usage of anyone. I’ve had some very keen eyes help me on that, too. I wouldn’t interpret Stoppard with only my mind.FLEMING I think he’s a genius, honestly. During my first engagement at the Royal Opera in London, I saw “Arcadia,” which was brand-new then, and I was completely hooked. Vocally, “Penelope” is like a long recitative. André was by nature melodic, but for this, because of all the text, I’m just singing words on pitch. And I’m working as hard as I can to make them understood.How did this piece change your relationship with Penelope as a character?FLEMING What I said to Tom was, I want to know why Penelope waited. But that didn’t register with him, and he’s Tom Stoppard, so obviously he wrote it as he saw it. There’s a lot in the original story that we bristle at today — like the killing of all those handmaidens, because they were doing what they were coerced to do? He didn’t soften any of those points.THURMAN Interestingly, having been a great fan of the myth since childhood, I just bought a nice children’s collection for my 9-year-old and was reading to her and freshly engaging with it. We’re dealing with our history; let’s be real. Tom did redact one reference, which had to do with women’s work. It wasn’t coming from him, it was an interpretation of our history, but it was too much.FLEMING From the beginning, one of the things I connected with was this incredible device of her weaving and unweaving her tapestry every night, for years. To me that notion is so musical. Every version of Goethe’s “Faust” has some sort of weaving aria. And that was something I admired, how clever Penelope was, and her strength of conviction.THURMAN She also says, “In tears we outdid each other in forgiving.” And her defense of herself and honoring her marriage and her choice of which man will take her father’s property — the enormous skill that she has to put into play to defend herself. She’s an admirable politician. And the politics in which she is exercising her rights and her choice are not the politics in which we exercise rights and choice today.What goes, then, into her earning the title Penelope the Wise by the end?FLEMING Well, she survived. She survived by wit and she was — as you said, Uma — wise enough to forgive. More

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      ‘Tom Stoppard’ Tells of an Enormous Life Spent in Constant Motion

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyBooks of The Times‘Tom Stoppard’ Tells of an Enormous Life Spent in Constant MotionThe playwright Tom Stoppard during an interview in New York City, 1972.Credit…William E. Sauro/The New York TimesFeb. 15, 2021Updated 6:49 p.m. ETThe Czech-born Jewish playwright Tom Stoppard arrived in England with his family in 1946, when he was 8. They’d managed to flee Czechoslovakia ahead of the Nazis, and had spent years in Singapore and in India. He’d later call himself a “bounced Czech.”Stoppard took to England, his adopted country. He was impressed with its values, especially free speech. He was as impressed by one of its sports: cricket.He played in school (Stoppard skipped college) and, once he’d found success in the theater, on Harold Pinter’s team in London, the Gaieties. Their rival was a team from The Guardian newspaper. Pinter was an ogre on the pitch. He presided, Stoppard said, “like a 1930s master from a prep school.” Stoppard was the wicket-keeper, stylish in enormous bright red Slazenger gloves.Stoppard is not an autobiographical playwright. But his obsession with cricket led to one of the great moments in his work. His play “The Real Thing” (1982) is about theater, relationships and politics — one character is an actress, another tries to help free a Scottish soldier imprisoned for burning a memorial wreath during a protest. The play includes what’s become known as the cricket-bat speech, of which here is an excerpt:“This thing here, which looks like a wooden club, is actually several pieces of particular wood cunningly put together in a certain way so that the whole thing is sprung, like a dance floor. It’s for hitting cricket balls with. If you get it right, the cricket ball will travel 200 yards in four seconds, and all you’ve done is give it a knock like knocking the top off a bottle of stout, and it makes a noise like a trout taking a fly … (He clucks his tongue to make the noise.)”The way the cricket bat taps a ball, and makes it sail an improbable distance, becomes, in Stoppard’s hands, a metaphor for writing. No living playwright has so regularly made that beautiful (clucks his tongue to make the noise) sound.Credit….[ Read Charles McGrath’s profile of Hermione Lee. ]The adjective “Stoppardian” — to employ elegant wit while addressing philosophical concerns — entered the Oxford English Dictionary in 1978. His plays are trees in which he climbs out, precariously, onto every limb. These trees are swaying. There’s electricity in the air, as before a summer thunderstorm.Stoppard’s best-known plays include “Rosencrantz and Guildenstern Are Dead,” “The Real Thing,” “Arcadia” and “The Coast of Utopia.” (His most recent, “Leopoldstadt,” is closed, for now, because of Covid-19.) He co-wrote the screenplay for “Shakespeare in Love,” and has written or worked on dozens of other movie scripts. He’s written a novel and flurries of scripts for radio and television.Now 83, he’s led an enormous life. In the astute and authoritative new biography, “Tom Stoppard: A Life,” Hermione Lee wrestles it all onto the page. At times you sense she is chasing a fox through a forest. Stoppard is constantly in motion — jetting back and forth across the Atlantic, looking after the many revivals of his plays, keeping the plates spinning, agitating on behalf of dissidents, artists and political prisoners in Eastern Europe, delivering lectures, accepting awards, touching up scripts, giving lavish parties, maintaining friendships with Pinter, Vaclav Havel, Steven Spielberg, Mick Jagger and others. It’s been a charmed life, lived by a charming man. Tall, dashing, large-eyed, shaggy-haired; to women Stoppard’s been a walking stimulus package.There’s been one previous biography of Stoppard, by Ira Nadel, published in 2002. Lee says that Stoppard “didn’t read it.” She must be taking his word.Lee is an important biographer who has written scrupulous lives of Virginia Woolf, Edith Wharton, Willa Cather and Penelope Fitzgerald. Her Stoppard book is estimable but wincingly long; it sometimes rides low in the water. The sections that detail Stoppard’s research for his plays can seem endless, as if Lee has dragged us into the library with him and given us a stubby pencil. Like a lot of us during the pandemic, “Tom Stoppard: A Life” could stand to lose 15 percent of its body weight.Lee owns a sharp spade, but don’t come here for dirt. Stoppard has long been a tabloid fixture in England; the spotlight on his relationships sometimes became a searchlight. But Lee makes the case that people, even his ex-wives, of which there are two, find him a decent sort. He’s remained loyal to old friends. He’s a family man who kept his office door open to his children. He kept the same agent and publisher for decades.The biographer Hermione Lee, whose new book is a life of the playwright and screenwriter Tom Stoppard.Credit…John CairnsHow did he get it all done? I’m with Antonia Fraser, who wrote in “Must You Go?,” a memoir of her years with Pinter, that she loves to hear the details of a writer’s craft, “as cannibals eat the brains of clever men to get cleverer.”First of all, Stoppard does a landslide of topical research before he begins to write. Second, he needs cigarettes. Lee says he lined up matches on his desk sometimes, and told himself he wouldn’t stop writing until he’d lit 12. He doesn’t drink much; that has helped. Although he has had spacious offices in which to work, he prefers to write at the kitchen table, late into the night, after everyone else has gone to bed.He will obsessively listen to one song while working. He wrote one of his first plays to Leadbelly’s “Ol’ Riley.” He listened to Bob Dylan’s “Like a Rolling Stone” and “Subterranean Homesick Blues” while writing “Rosencrantz and Guildenstern,” and John Lennon’s “Mother” while writing the play “Jumpers.”He liked to have breakfast every morning with his family (he has four children), along with a pile of newspapers. When does he sleep? Lee mentions an occasional nap at sunset.Lee tracks the arc of Stoppard’s politics over time. Most people turn to the right as they age; Stoppard went the other way. One reason this book entertains is that Stoppard has had an opinion about almost everything, and usually these opinions are witty.He thinks, for example, that art arises from difficulty and talent. “Skill without imagination,” one of his characters says, “is craftsmanship and gives us many useful objects such as wickerwork picnic baskets. Imagination without skill gives us modern art.” (The character’s name is Donner, and Stoppard has said: “Donner is me.”)Stoppard is a maniacal reader who collects first editions of writers he admires. Asked on the BBC radio show “Desert Island Discs” in 1984 to choose the one book he’d bring to a desert island, he replied: Dante’s “Inferno” in a dual Italian/English version, so he could learn a language while reading a favorite. His idea of a good death, he’s said, would be to have a bookshelf fall on him, killing him instantly, while reading.AdvertisementContinue reading the main story More

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      In ‘Tom Stoppard,’ Hermione Lee Takes On a New Challenge: a Living Subject

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyIn ‘Tom Stoppard,’ Hermione Lee Takes On a New Challenge: a Living SubjectThe acclaimed biographer’s life of the widely admired playwright and screenwriter follows her works about Virginia Woolf, Edith Wharton and others.The biographer Hermione Lee, whose new life of Tom Stoppard will be published on Feb. 23.Credit…Jamie MuirFeb. 13, 2021, 5:00 a.m. ETEvery other year, at a botanical garden in the Chelsea neighborhood of London, the playwright and screenwriter Tom Stoppard throws a lavish, all-day party for his many friends and their families. There are bands, puppets, jugglers, stilt-walkers, staggering amounts of food and drink. Among the hundreds attending in 2013 were the biographer Hermione Lee, who was at the time also the very busy president of Oxford’s Wolfson College, and her friend Julian Barnes, the novelist. As they were leaving, Barnes recalled recently, Stoppard ambled up and asked Lee if she had any interest in writing his life.“Why me?” she said, taken aback.“Because I want it to be read,” he replied.That Stoppard wanted a biography at all was a surprise. He used to be hostile to the whole idea. In his play “Indian Ink,” a character calls biography “the worst possible excuse for getting people wrong,” and in “The Invention of Love,” Stoppard has Oscar Wilde describe biography as “the mesh through which our real life escapes.”Stoppard came around, Lee thinks, because he knew a biography was probably going to get written anyway, and because at the time he asked her he was entering into what she calls the “tidying up” phase of his life — approaching 80, moving house, beginning a new marriage. And in choosing Lee, though she is too modest to say so, he wasn’t taking any chances. Lee’s “Tom Stoppard: A Life” came out in England last October (Alfred A. Knopf will publish it here on Feb. 23), and at the time Stefan Collini wrote in The Guardian, “It seems unfair that a man of such outrageous gifts should also have been allowed to magic up the perfect biographer to write his life.”Lee, or to be formal, Dame Hermione (she was awarded the title in 2013 for “services to literary scholarship”) is a leading member of that generation of British writers — it also includes Richard Holmes, Michael Holroyd, Jenny Uglow and Claire Tomalin — who have brought an infusion of style and imagination to the art of literary biography. She is probably most famous for her 1997 life of Virginia Woolf, which upended much of the received wisdom about Woolf and demonstrated that there was much more to say than that she was a depressive in a cardigan wading into a river. In similar fashion, her 2007 biography of Edith Wharton rescued Wharton from her snobbish, old-fashioned reputation and reimagined her as a modern.Lee said yes to Stoppard, of course. How do you say no to someone so famous for charm? And then, as she recalled over Zoom last fall from her house in Oxford, she immediately thought to herself, “Oh my God, what have I done?”The playwright Tom Stoppard in New York, 1967.Credit…William E. Sauro/The New York Times Stoppard outside of New York’s Lincoln Center Theater, 2018.Credit…Daniel Dorsa for The New York TimesLee, who turns 73 later this month, did not set out to become a biographer. She grew up in London in a house filled with music and books, and became a “culture hound,” she once told The Paris Review, the kind of teenager who would rather listen to Bartok than Elvis. She read all the time, but mostly novels, and had little or no interest in the lives of the people who wrote them.When her dreams of being an actress didn’t pan out, she became an academic, studying at Oxford, where she eventually became the first woman in the prestigious role of Goldsmiths’ Professor of English Literature. In the 1980s, though, she became uncomfortable with what was happening to the teaching of literature. “I think I was very ill-equipped to take on structuralism and deconstruction and French critical theory,” she explained. “I didn’t really buy the death of the author, and I think I went toward biography, perhaps not terribly consciously, as a sort of resistance.”Lee’s previous subjects — besides Woolf and Wharton, she also wrote about Willa Cather and Penelope Fitzgerald — were all novelists, all female and all dead. Stoppard, obviously, was none of those things. He was also someone both fortunate and beloved, with hundreds and hundreds of friends and admirers, all protective of him. “She always has a natural and healthy anxiety,” Barnes said. “‘Can I do it?’ But this time I think there was also: ‘Will he like it?’”Lee was not a theater person. But she was an avid playgoer, at least, and had acted a bit when she was young. So she felt reasonably confident about handling that part of Stoppard’s life, though in the end writing about the plays themselves required a tremendous amount of homework. Nor was Stoppard’s being male something she worried a lot about. “Maybe I should have,” she said, “but I didn’t feel that in writing about a man I was entering into some strange, uncharted territory.”By far the hardest part of writing the life of Stoppard, she said, was that Stoppard, now 83, was still living it. How do you end such a book? She originally thought she might conclude with Stoppard’s 80th birthday, in July 2017. But in 2020, he finished “Leopoldstadt,” a series of three plays that are his most personal and emotional, touching on his Jewish heritage, and practically as soon as it opened the run was ended — for the time being, anyway — by the coronavirus. So instead, Lee’s book ends with a vanishing — Stoppard’s recollection of a famous outdoor production of “The Tempest” in which Ariel seems to run across water and then disappears into the dark.Lee worked on the book for seven years, interviewing not just Stoppard but more than 100 of his friends and colleagues. “I’m sure there were times when he said, ‘Oh, the hell with this,’ and ‘Crikey, she’s being thorough — she’s excavating my whole life,’” she said. “I think what happens is you don’t see it coming, really. You agree to be interviewed and you’re obliging about material and all that, but what you don’t imagine is that this person is going to be talking to practically everyone you know, and that inevitably every one of those people will ring you up and tell you.” Only when Lee was well along in her research did Stoppard trust her with what became her two most crucial sources: the almost weekly letters he wrote to his mother until her death, in 1996, and a journal he kept for his son Ed.Hermione Lee worked on her new biography of Tom Stoppard for seven years, interviewing not just Stoppard but more than 100 of his friends and colleagues.Credit…Tom PilstonLee is sure that when Stoppard finally read the book, he inwardly groaned. Because there was so much to read — 834 pages, including notes — and because there were things that must have embarrassed him and that he wished had been left out. But he asked for only one change: that she not reveal the name of an actor who had been fired from the revival of one of his plays. “I was very impressed by that,” Lee said of Stoppard’s minimal demand. “And of course I agreed.”Most of Lee’s biographies have a shape related to their subject. Her life of Woolf is Woolfian, formally experimental and arranged thematically rather than chronologically. It begins with a question asked by Woolf herself: “My God, how does one write a biography?” Her biography of Wharton resembles a Wharton novel, with a lot of richly furnished rooms: the French room, the Italian room, the Henry James room. And her life of Penelope Fitzgerald is shorter and sparer than the others — like Fitzgerald, who was elusive and a little mysterious, a great writer of concealment.Lee’s life of Stoppard starts with a chapter called “First Acts,” and is divided into five parts. But in the beginning it reads less like a play than a boy’s adventure story, with 2-year-old Tomas Straussler fleeing with his parents and brother from their native Czechoslovakia to Singapore in 1939. When that city falls to the Japanese, they flee again, this time to India, with the father dying on the way, and remain there until 1945, when Mrs. Straussler meets and marries Major Kenneth Stoppard. A year later, the family is living in Nottinghamshire and, overnight, Tomas has become an Englishman — the luckiest thing, he always said, that ever happened to him.Lee’s 97-year-old father read that part of the book before he died and told her that it wasn’t written in her usual style. “He was always my sternest critic,” she said, and added, laughing, “I could never work out whether this was a compliment or a criticism. The plan, anyway, was that I really wanted this part to come along and whoosh. You get on the journey and away you go.”The rest of the book describes a life of extraordinary busyness, with Stoppard not just writing (and rewriting and rewriting) his plays but serving on committees, plunging himself into the politics of Eastern Europe, working for Hollywood — and not just on the movies we know as his, like “Shakespeare in Love” and “Empire of the Sun.” He also did work — uncredited but handsomely paid — on such unlikely projects as “The Bourne Ultimatum,” “Sleepy Hollow” and “102 Dalmatians.” There are stretches in the book when he takes the Concorde back and forth across the Atlantic as if it were a cab.To judge from the British reviews, some readers picked up “Tom Stoppard: A Life” just for the gossip: the parties; the friends; the hobnobbing with the likes of Prince Charles, Princess Margaret, the Duke and Duchess of Devonshire, Mick Jagger and David Bowie; the three marriages; the love affairs, including a not-so-secret one with Sinead Cusack, the wife of Jeremy Irons. There were others who skipped that stuff and wanted to read instead all about the influence of Isaiah Berlin on “The Coast of Utopia.”“I suppose I always felt it was a sort of double narrative,” Lee said. “I’d rather be boring than faulty. I could well imagine people saying, ‘Do you really have to go on about the plays at such length?’ I wanted to make people feel they were reading the plays as they were reading the book, as it were, or watching them again. I was also trying to do a service to myself, getting these plays clear in my head and trying to understand how they worked in his life at the time.”Over the years, Lee has thought a lot about biography, and even about how much, paradoxically, she would resist the idea of anyone writing her life. In her brief book “Biography: A Very Short Introduction,” a sort of biography of biography, she argues that in some ways the form has evolved less than we think, and that the same questions keep coming up about the responsibilities and limitations of the form. “I’m perfectly aware that there are many things we can’t know,” she said. “I’m sure in Tom’s case there are one or two affairs that I don’t know about, that nobody knows about. And maybe nobody ever will know. I like that, actually.”She added that she already had a new subject in mind — “just a glint in my eye, though, and too soon to be talking about it.” But she did volunteer three clues. Not a man. Not a playwright. And, yes, dead.Follow New York Times Books on Facebook, Twitter and Instagram, sign up for our newsletter or our literary calendar. And listen to us on the Book Review podcast.AdvertisementContinue reading the main story More