Hello Gentle Reader,
There are few English language playwrights capable of moving between literary preoccupation and popular appeal quite like Tom Stoppard. Though Alan Bennett and the late Harold Pinter and Edward Albee make close seconds; Tom Stoppard remains singular as one of the most original dramatists of the mid to late 20th century and early 21st century, who was able to move between both writing for stage and screen with remarkable ease. Finding a home in these two mediums, who despite their similarities, are ultimately vastly different, delineated not only on the grounds of production but the intimacy and limitations of scope, only showcases Stoppard’s remarkable ability to adapt to different modes of presentation, but maintaining his signature love of the English language, and ensuring the language of either performance would always be polished and top notched, regardless if it was being performed by treading on the boards or broadcasted from the screen. Tom Stoppard’s work delighted in juxtaposition. By soldering two unrelated or oppositional concepts together, Stoppard explored philosophical complexities and conundrums with wit and ease, that was both intelligent as it was entertaining. In one of his personal favourite plays, “Arcadia,” Stoppard explored 19th century landscaping gardening and chaos theory, by contrasting two different time periods and two different sets of characters, and exploring the fundamental elements of order and chaos as unseen influential forces that continue ripple throughout time, further elevated by Stoppard’s ability to take complex concepts and spinning them into a narrative that continually flutters between tragedy and comedy in equal breaths. Still, Tom Stoppard’s big break and often regarded as his crowning achievement remains the classic “Rosencrantz and Guildenstern Are Dead,” a marvelous absurdist tragicomedy with an existentialist bent (in other words very mid-century modern), they play takes two minor characters (Rosencrantz and Guildenstern) from “Hamlet,” the two courtly sycophants and agents of Claudius and presents their outcome from their own perspective, as their fates already codified in “Hamlet.” “Rosencrantz and Guildenstern Are Dead,” remains a classic dramatic text of the mid to late 20th century theatre. Stoppard’s credits in film are equally wide, including a credit to the Oscar winning screenplay “Shakespeare in Love,” “Empire of the Sun,” and “Brazil.” Beyond his credits for credits for stage and screen, Tom Stoppard was remembered fondly by friends, colleagues and admirers for his generosity in spirit, and continued interest and support of new talents.
Rest in Peace, Tom Stoppard, a true legend of the stage and screen.
Thank
you For Reading Gentle Reader
And As Always
Stay Well Read
