The Broadway production of what may be Stoppard’s final play opened on October 2.
which opened last night, having missed the memo. In this instance, the memo was an essay, written by playwright Tom Stoppard, that ticket holders were advised to read before attending. An abridged version of a piece that Stoppard published inhis somewhat late-in-life awakening to his Jewish identity.
Eventually, at age 8, Stoppard made his way to England, and his mother married a British major who gave Stoppard his last name. The fact that the movements of his young life had been set in motion by the invasion of the Nazis didn’t much enter his consciousness: “By the time I understood that there was a connection between these two events, I was an English schoolboy,” he writes.
Playwright biographies are usually not essential reading prior to attending one of their productions, butwhich follows the prosperous Austrian Merz family through the very end of the 19th century into the second half of the 20th, is a deeply personal story for Stoppard—not exactly his own but close to it. The Merzes are doctors and mathematicians, factory owners and musicians.
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