Tom Stoppard, frequently hailed as the greatest British playwright of this generation, had both a remarkable life and a remarkable career.
Born in Czechoslovakia in 1937, his family fled to Singapore when the Nazis invaded. When Japan threatened their new home, his mother took him and his brother to India. His father stayed behind in Singapore but died when the ship he was aboard was sunk. His mother later married a British officer and the family relocated to England, where young Stoppard took his stepfather’s surname and “put on Englishness like a coat,” he later said.
Stoppard quickly became known for his clever, witty and intellectually curious work, earning three Olivier Awards, five Tony Awards and an Oscar (for “Shakespeare in Love”). He was even knighted in 1997 by Queen Elizabeth II for his contributions to theater.
Starting with “Rosencrantz and Guildenstern Are Dead” in 1966, through his final full-length play “Leopoldstadt” in 2020, Stoppard crafted a body of work that would be the envy of most countries, let alone one writer.
Below are some of Stoppard most important plays, with observations from Times critics:
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The 2022 Broadway production of “Leopoldstadt” in a family scene from 1924.
(Joan Marcus)
Rosencrantz and Guildenstern Are Dead (1966)
After working as a journalist, Stoppard had a breakthrough when this absurdist romp debuted at the Edinburgh Fringe. Times theater critic Charles McNulty reviewed a 2013 production at the Old Globe’s Shakespeare Festival in San Diego, describing it as a “metapharcical romp (to coin a genre), in which ‘Hamlet’ is glimpsed through the oblique perspective of the prince’s twin buddies, sent to spy on him by Gertrude and Claudius in that Elsinore castle of murder, adultery and occult intrigue. … Stoppard’s fertile wit keeps this three-act drama pulsing along without too much strain. A subtle pathos, along with the playwright’s verbal sophistication, prevents the play from degenerating into a collegiate vaudeville.” In 1990, Stoppard himself directed a film version starring Gary Oldman and Tim Roth.
Jumpers (1972)
This satire set in an alternative universe in which British astronauts land on the moon and “Radical Liberals” have taken over the nation’s government, premiered at London’s Old Vic starring Michael Hordern and Diana Rigg. Two years later, Times theater critic Dan Sullivan reviewed an American Conservatory Theater production of it in San Francisco. “Stoppard’s new play can’t be hung with one of those preprinted tags that theater critics carry in their pockets for easy labeling,” he wrote. “You might call it a Metaphysical Spoof With Acrobatic Prelude, or you might not. The only general thing you can say about it is that it’s very bright and very funny, and sometimes rather touching.”
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Travesties (1974)
The Royal Shakespeare Company staged the first production at the Aldwych Theatre in London, starring John Wood, John Hurt, Tom Bell and Frank Windsor. Stoppard was fascinated with the idea that James Joyce, Vladimir Lenin and Dadadist poet Tristan Tzara were all living in Zurich in 1917. He placed these zeitgeist figures in the orbit of a more humble historical figure named Henry Carr, who figured into Joyce’s “Ulysses.” The Times’ Sullivan took in the 1975 New York production, calling it “dazzling” and wondered if Broadway audiences would be able to keep up with it. “Like Stoppard’s last play ‘Jumpers’ (which didn’t do very well here), this is a vaudeville show where the language does tricks as well as the actors,” wrote Sullivan. “And to do the tricks as well as ‘Travesties,’ John Wood [as Carr], a playwright’s language has got to be pretty accomplished.”
The Real Thing (1982)
Felicity Kendal and Roger Rees originated the lead roles in Stoppard’s very personal examination of love and marriage, truth and honesty. The playwright significantly reworked the script for its Broadway run, starring Glenn Close and Jeremy Irons directed by Mike Nichols, to great success. Linda Purl and Michael Gross assumed the roles for the 1986 L.A. production at the Doolittle Theatre. ”Without spoiling its surprises, the reviewer can say that not every scene in ‘The Real Thing’ is what it seems to be, including the first one,” wrote Sullivan. “Stoppard’s characters are theater people, professional makers of scenes, and some of these scenes get swept into the play. … ‘The Real Thing’ has wit, surprise and characters you care about. … If you like plays written in full sentences, you’ll like ‘The Real Thing.’
Arcadia (1993)
Moving between the 19th century and the present, Stoddard balanced tragedy and comedy with a healthy dose of science and mathematics. The play opened at the Royal National Theatre in London directed by Trevor Nunn with a cast including Rufus Sewell, Felicity Kendal, Bill Nighy and Emma Fielding. Two years later, in New York, Nunn directed a new cast that included Billy Crudup, Blair Brown, Victor Garber as Bernard, Robert Sean Leonard, Jennifer Dundas and Paul Giamatti in his Broadway debut. “‘Arcadia’ is a great play not because it seamlessly meshes serious ideas and the intense pleasure of a literary detective story,” wrote Times critic Laurie Winer, reviewing director Robert Egan’s 1997 Mark Taper Forum production. “It is a great play because, by the end, Tom Stoppard touches ineffability, just as his heroine touches genius.”
The Invention of Love (1997)
For this portrait of poet A. E. Housman, Stoppard once again turned to historical figures for his cast. The play premiered at the Royal National Theatre, London, with Housman played as an old man by John Wood and as a young man by Paul Rhys. It was directed by Richard Eyre. The play opened on Broadway at the Lyceum Theatre in 2001, directed by Jack O’Brien. “Stoppard has written an essentially undramatic dreamscape,” wrote Times critic Michael Phillips.” The recently deceased Housman (Richard Easton), about to cross the River Styx, assesses his recessive life and great unrequited love for the athlete Moses Jackson (David Harbour), a fellow Oxford man. En route, the elder Housman runs into his younger self (Robert Sean Leonard). There’s a long scene near the end of Act 1 shared by the two Housmans. As they discuss the niceties and textual flaws of the classics they love as much as life itself, Stoppard’s playfulness is tinged with rue; the older man cannot prevent the younger’s heartbreak to come.”
The Coast of Utopia (2002)
This trilogy of plays, “Voyage,” “Shipwreck” and “Salvage,” zeroed in on philosophical debates in 19th century Russia. They premiered at the National Theatre’s Olivier auditorium in repertory, directed by Nunn. The plays debuted on Broadway, directed by Jack O’Brien, at the Vivian Beaumont Theater at Lincoln Center in 2006. “A nearly eight-hour drama about the Russian intelligentsia that received mixed reviews when it premiered in London in 2002, ‘The Coast of Utopia’ isn’t for the theatrical faint of heart,” cautioned Times critic McNulty. “Stamina is a prerequisite for the company and audience alike. … Stoppard’s play enacts a moment in history when thinkers and writers set out to redirect the future. Ideologies were conceived and pressed immediately into service, sometimes at the expense of the individual lives they were theoretically meant to serve. [It] dramatizes both the ebb and flow of conditional life and the hunger for unconditional solutions to its woes.”
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Rock ‘n’ Roll (2006)
Stoppard looked to his Czech roots with this drama, connecting the Prague Spring of 1968 with the Velvet Revolution of 1989 through music. The play premiered at the Royal Court Theatre, London, once again directed by Nunn and featuring Rufus Sewell, Brian Cox and Sinéad Cusack. The cast moved to Broadway in 2007. “You might want to arrive a bit early and study the timelines in the lobby, which detail Czechoslovakia’s turbulent political history from 1968 to 1990 and key events in the rock music scene during that era,” wrote reviewer F. Kathleen Foley of Open Fist’s 2010 production. “Read them carefully. Otherwise your head just may explode at some point during this Los Angeles premiere, which presupposes an intimate familiarity with Czech history, the early rock scene and, oh, did we mention Sapphic poetry? It’s all a bit ostentatious and difficult to follow — but even at his most intellectually prolix, Stoppard is flat-out brilliant, arguably our greatest living playwright.”
Leopoldstadt (2020)
The final play of Stoppard’s brilliant career was sparked by the playwright learning of the plight of his Jewish ancestors upon his mother’s death in 1996. It debuted at Wyndham’s Theatre in London’s West End, but was interrupted by the COVID-19 pandemic and debuted on Broadway in 2022 starring Davis Krumholtz with Patrick Marber directing. The play “unfolds as a series of oil paintings magicked into life,” wrote Times critic McNulty. “The play, which features a cast of 38 actors, moves from turn-of-the-century Vienna, where Freud, Mahler and Schnitzler are the talk of the town, to 1924, when the scars of World War I are clearly visible. Performed without intermission, the action ominously leaps to 1938, as the Nazis are ransacking the homes of Jewish citizens. The play concludes in 1955, when three family survivors reunite to piece together the fates of their murdered relatives. … It’s not just that the work mirrors aspects of his personal history. It’s also the virtuosic way that he conjures the shifting cultural zeitgeist of Vienna in the first half of the 20th century through stylized conversation alone.”
You can find audio dramas by L.A. Theatre Works of “Rosencrantz and Guildenstern are Dead,” “The Real Thing” and “Arcadia” on Spotify.
Many of the films Stoppard wrote or co-wrote are available for streaming, including “Brazil” (1985),” Turner Classic Movies, and for rent on Apple TV and Prime Video; “The Russia House” (1990), for rent on Prime Video; “Rosencrantz and Guildenstern Are Dead” (1990), for rent on various platforms; “Empire of the Sun” (1987), for rent on various platforms; and “Shakespeare in Love” (1998), Paramount+ and Kanopy, and for rent on various platforms.
Stoppard is also certainly a playwright whose work is a joy to read. Most of these plays can be found at your local public library or favorite bookstore.
In a roundabout way, the fact that I don’t have a strong attachment to The Wizard of Oz as a film (my late mother loved it, so that memory is deeply rooted in me, but the movie itself never did much for me) contributed directly to how amusing I found Gail Daughtry and the Celebrity Sex Pass to be. This comedy spoofs the plot of the classic fantasy movie, though the jokes are largely about Hollywood. The humor is big and broad, with some of the jokes really landing. Others? Not so much. Still, more than enough do to warrant a recommendation.
Gail Daughtry and the Celebrity Sex Pass gets a lot of mileage out of sending up show business, even if the observations, while funny, are not particularly new. Besides the deluge of jokes, there’s also a lot of likably broad characters to spend time with, especially our lead. They make the 90 minutes and change spent together with them go down very easy.
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For Gail Daughtry (Zoey Deutch), her life as a small town hairdresser is perfect. Engaged to her high school sweetheart Tom (Michael Cassidy), she’s the picture of happiness, at least until a trip to a celebrity book signing. There, Tom meets and ends up sleeping with his “celebrity pass,” a term Gail wasn’t even really previously aware of. Feeling betrayed, Gail impulsively joins her co-worker and friend Otto (Miles Gutierrez-Riley) on a trip to Los Angeles. There, a psychic convinces her that the can save her marriage by sleeping with her own celebrity pass: Jon Hamm (Jon Hamm).
Journeying through Tinseltown in a manner that recalls Dorothy’s adventure in Oz, Gail and Otto won’t have to find Hamm alone. Joining forces with talent agency assistant Caleb (Ben Wang), down on his luck paparazzo Vincent (Ken Marino), and actor John Slattery (John Slattery). As they search for Hamm, some for their own purposes, they meet other celebrities, while also being hunted by a group of Italian assassins after a case of mistaken identity. Eventually, they come across Hamm, and the moment of truth is at hand.
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Zoey Deutch dives headfirst into a broad comedy like this, absolutely relishing the opportunity to get silly again. She’s able to make Gail a babe in the woods but also someone you laugh with, not at. It’s a wildly enjoyable turn. Deutch started out in comedies and was always a talented comedic actress, so it’s a pleasure to watch her back at it. Miles Gutierrez-Riley and Ben Wang get some very funny moments, while Ken Marino is a reliable comic presence. Jon Hamm and John Slattery are delighted to be sending up themselves, with amusing results. Supporting players here, in addition to Michael Cassidy, also include Kerri Kenney, Richard Kind, Thomas Lennon, Joe Lo Truglio, Fred Melamed, and more, plus some cameos.
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Filmmaker David Wain, again co-writing with Ken Marino, continues to make it look easy. Few can make a silly comedy like Marino and Wain, especially as they pack their flicks with extra bits that only subsequent viewings reveal. Is Gail Daughtry and the Celebrity Sex Pass on the same level as Wet Hot American Summer or They Came Together? No, not quite. At the same time, is this, scattershot approach and all, funnier than most other 2026 releases? You bet. Marino and Wain have a hit rate that allows some of the jokes to miss, as you only have seconds to wait before the next one, which probably will hit.
Gail Daughtry and the Celebrity Sex Pass is very amusing, and occasionally hilarious, even if not as many jokes land as you might expect. Zoey Deutch is great in the lead role, David Wain is in his comfort zone, and the laughs come hot and heavy. If you’re a Wain fan, this new movie should be a must see.
Right now in Los Angeles it’s Wes Week, with multiple tributes to the career of filmmaker Wes Anderson, known for his fastidious visual style, melancholy longing and nerd-chic aesthetic.
On Monday night there was a sold-out 30th anniversary screening of Anderson’s debut feature, “Bottle Rocket,” at the Academy Museum with the filmmaker making a rare in-person L.A. appearance. He sat for a warmly endearing Q&A with actor Luke Wilson and director James L. Brooks, an early champion who executive-produced.
Then on Friday, Saturday and Sunday, the Hollywood Bowl will have three nights celebrating the music of Anderson’s films, hosted by the director’s 10-time fixture, Bill Murray. Among those scheduled to perform are Beck, Jenny Lewis, Karen O, Rufus Wainwright and Devo, among many more. Other surprise guests may appear as well, performing songs familiar from Anderson’s music-stuffed movies.
“I was surprised how many things we did have to leave out,” Anderson, 57, tells The Times in a recent interview conducted via voice notes (his personal preference) recorded from Paris, where he has long lived. “There’s so much music over all these movies because I’ve been doing them for so long. We could do a whole other round of this, but let’s see how it goes on this first one.”
Because of his unique use of music, combining left-field vintage pop songs with classical pieces and original scores by favored composers Alexandre Desplat and Devo’s Mark Mothersbaugh, there have been frequent requests over the years for live performances, but Anderson and his longtime music supervisor Randall Poster have always declined — up until now and this ambitious three-night event at the Bowl.
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“From the moment that he said yes we’ve been on the phone talking about his vision and how to execute it,” says Johanna Rees, vice president of programming and creative partnerships at the L.A. Phil, during a recent call from San Diego. “It’s about exploring and celebrating so many styles of music. It’s been such a fun adventure.”
Kara Hayward and Jared Gilman in Wes Anderson’s 2012 movie “Moonrise Kingdom.”
(Focus Features)
This will be more than a typical evening at the Bowl, with dedicated Anderson-branded merchandise and uniformed bicycle riders dispensing candy. “The plan is you walk into the Hollywood Bowl and you are immersed in the world of Wes Anderson,” Rees says.
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Criterion, which has long put out high-end home video editions of Anderson’s work and recently issued a 20-disc box set, will also have a special presence at the Bowl. Alongside the popular Criterion Mobile Closet making another stop in L.A., there will also be a lounge, a listening booth and a screening room showing Anderson’s movies as well as ones curated by him, including “Yojimbo,” “Amarcord” and “Belle de Jour.”
“Wes is an amazing community-builder as a human being,” said Peter Becker, president of Criterion, in a video call from the Il Cinema Ritrovato Festival in Bologna, Italy. “If you look at his films and the people he’s been working with consistently, we’re not the only ones who’ve been part of the greater Wes Anderson family for the last 25-plus years. How could we not be a part of this?”
From left, Jason Schwartzman, Adrien Brody and Owen Wilson in the movie “The Darjeeling Limited.”
(Fox Searchlight Pictures)
Music supervisor Poster met Anderson in 1996 at L.A.’s Original Farmers Market shortly after “Bottle Rocket” was finished and immediately began to assist in pulling together the soundtrack release. Though the CD at the time could not include some of the key songs from the movie, these Bowl events will finally offer a flexi-disc of the Rolling Stones’ “2000 Man” as well as a limited-edition yellow vinyl 12-inch record with two songs by the band Love.
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The two have worked together on all of Anderson’s films since, with a process that is constantly developing.
“Sometimes we’ve been talking about it even before the film takes shape,” says Poster on a recent phone call from New York. “We get to that point where I feel informed to a certain degree, that we’ve identified an element or two, whether it’s a composer, a specific song, a specific band that allows us to sort of start weaving it together. Sometimes we have more details, and sometimes we’re in a little bit more of a process of discovery.”
As impeccably detailed as his movies can be, Anderson acknowledges that his method can still be a bit vague. “I really couldn’t tell you what it’s all about, where it came from or why,” he says. “It’s just totally instinctive.”
One of the most indelible moments in Anderson’s repertoire is Gwyneth Paltrow’s slow-motion exit from a bus in “The Royal Tenenbaums” to the sounds of Nico’s 1967 recording of the song “These Days,” perfectly capturing a tender, delicate rush of emotions.
“That music was part of the inspiration for the entire movie,” Anderson recalls. “There’s a Ravel string quartet in F Major and this song — those two things together, for whatever reason, suggested something to me that slowly became the whole movie. With Gwyneth Paltrow coming off of the bus, we played the music on the set. It was all a bit choreographed to that.”
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“Everybody wanted to do ‘These Days,’ ” says Poster of the artists lined up for this weekend’s shows. “But Jackson Brown wrote ‘These Days’ and Jackson Brown is going to perform ‘These Days.’ Nobody could really argue with that one.” (The rest of the song choices and performers are being kept under wraps.)
Ben Stiller, left, Gwyneth Paltrow and Gene Hackman in the 2001 movie “The Royal Tenenbaums.”
(James Hamilton / Touchstone Pictures)
In choosing music for the movies, inspiration can strike from just about anywhere, as with the Johnny Duncan and the Blue Grass Boys’ recording of “Last Train From San Fernando,” memorable from the opening credits of 2023’s “Asteroid City.”
“I knew that song because my daughter used to listen to it,” says Anderson. “She had a CD of western swing from the ’50s and ’40s that she was listening to again and again. So I stole it from her.”
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Poster mentions Anderson’s affinity for woodwinds and novelty instruments along with his tremendous sense of rhythm, which is why the music often has a strong percussive feel, from Gene Krupa’s “Drum Boogie” in last year’s “The Phoenician Scheme” to Japanese taiko drums and the work of composer Peter Jarvis.
“I would say that I think the biggest change is that Wes has taught himself how to read music,” says Poster. “He just really gets into the score’s DNA and really has a great insight into how to arrange thematic pieces that I think help make the movies more wholesome, just being a whole thing.”
Poster playfully refers to Anderson as “The Maestro” and remains struck by how fresh the music cues feel in the context of the films.
“When those clips come on — ‘Here Comes My Baby,’ ‘A Quick One, While He’s Away,’ ‘These Days,’ ‘Needle in the Hay,’ ‘Ooh La La’ — I mean, countless, countless, I always get a kick out of it.”
All of which should add up to a special alchemy at the Bowl.
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“They won’t happen again,” says Rees of the three nights curated by Anderson. “Not knowing what he’s going to do in the future, but certainly this is a special event, a one-of-a-kind weekend. It won’t be happening like this again.”
For Anderson, putting together the Hollywood Bowl shows has been a reminder of how far his work has evolved.
“When we made ‘Bottle Rocket,’ I didn’t intend to have an original score at all,” he remembers. “We had some Ennio Morricone music. We put Bob Dylan’s ‘Pat Garrett and Billy the Kid’ in the movie originally — and that’s a score from somebody else’s movie. At a certain point everything sort of changed, and Mark Mothersbaugh came and saw the movie and he liked everything we had in there. And so he brought his own voice in, but from the point of view of somebody who was very sympathetic to what was already in place, and that led to more movies together.”
Showing a bit of his own trademark wistfulness, he adds, “It is quite an amazing thing to have Mark and Devo coming up on the stage to do this music that reflects back on all these years — this whole gathering.”
Supergirl Director: Craig Gillespie DC Studios, Troll Court Entertainment, The Sagan Company In theaters: 06.26.2026
I was a pretty big fan of James Gunn’s Superman. Building up to the release of the film, I relapsed into my comic book obsession, which I had laid to rest many years prior. I read whatever you get recommended when you look up “Superman comic recommendations:” For All Seasons, All Star, Birthright — whatever, you don’t care. David Corenswet’sportrayal of Big Blue was loving, thorough and unbelievably human, which is what Superman is (he’s not Jesus). He is the best of us. He is what we aspire to be.
Supergirl was announced, and I picked up the comic it was based on: Supergirl: Woman of Tomorrow. The questionable morals and talent of author Tom King aside, the book is good! The fantastic art by Bilquis Evely makes King’s (sometimes preachy) prose this beautiful and somber story about trauma and war. It appears that I’m ahead of director Craig Gillespie, who reportedly didn’t read the book and, boy, does it show.
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During a bender, Superman’s cousin Kara (Milly Alcock, House of The Dragon)meets Ruthye (Eve Ridley), a child whose family is murdered by Krem (Matthias Schoenaerts, Amsterdam, The Old Guard), the leader of a raider group. She enlists Kara to hunt and kill him, and on their way, they confront their traumas.Kara faces Krem, the films antagonist, retold as an all-powerful kryptonite wielding brute. Photo courtesy: DC Studios.
Every change made from the original comic was for the worse. Most notably, this film simplifies the depth of the comic’s characters. Kara is reduced to a loud, charming alcoholic, which is fine, but in the comic, she’s somber and reflective, making an effort to teach Ruthye how the greater universe works. The antagonist, Krem, is sort of a loser in the comic. He’s a coward who spends his time running away, while in the film he’s a tattooed, pierced, menacing psychopath who appears in almost every major action sequence. He’s almost indistinguishable from The Joker — this all boils down to shame. While they’re becoming increasingly popular, comics are still for losers. Hinting at depth with characters who fly and shoot lasers from their eyes in brightly colored underpants isn’t something that a general audience will accept. They will accept a comic film so long as it constantly flogs itself for being comic-inspired.
Another bastardization is the look of this film. Everly’s amazing use of color in the comic makes the story so engaging. How is this translated? Brown. Just brown. When characters clash, it looks like someone’s wiping their finger across their dirt-covered lens, which is a total departure from Gunn’s fantastic color palette in Superman. The visual effects appear to be rushed and often look horrible — laughably horrible, as a matter of fact. How do you spot a bad action director? Look at the editing. If they have to hide poor action choreography and bad visual effects behind dizzying amounts of cuts, they’re bad. Gillespie is a bad action director. James Gunn promised that the DCU would prioritize artist voice over universal coherence, but if these are the artists he’s hiring, I’m not sure how long this could last.
Performances here are whatever. Alcock could have been good if the script and direction were right, but they’re not. I couldn’t get into Krem due to character assassination, but even if I wasn’t into the comic, I would find his performance as a crazy guy to be a standard for bad superhero movies. Ridley is good, especially for a debut in feature films, but the standout is Jason Momoa (Aquaman, A Minecraft Movie) as Lobo. He is loving the character, absolutely chewing up the scene with thick cigars. He’s a little cheesy-edgy, but that’s just what he is in the comics, so I won’t knock him for it.
While I was watching the film, I was suffering from a discrepancy. Supergirl is as powerful as Superman, but throughout this film, she doesn’t use her powers to their full potential. Something I actually loved about Superman is how much he got his ass kicked. Gunn was out to prove that Superman fights can have stakes — that he’s not just undefeatable and therefore boring as everyone says. Gunn’s ability to create ways to kill the Man of Steel without Kryptonite is amazing! Kara, in this film, is fighting space pirates and constantly forgets to finish the fight. It’s frustrating because the remedy to this in the comic is that they don’t see Krem until the last couple of issues, but in this film, Krem keeps showing up to menace Supergirl, and most of the time she has her powers.
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I could ramble about how bad the dialogue can be, how derivative and uninspired it is or whatever lame comic thing I can talk about, but I’ll spare you. Here’s the moral of all this: Comic books are a valid storytelling medium. I recall recommending Alan Moore’sWatchmen to someone and being told that they have more important things to read. Watchmen is one of my favorite works of fiction. I did end up falling out of love with comics because I was told they were childish and I had grown bored of having costumes thrust into my peripherals all the time, but I’m back now, and I love them so much more than ever. I loved Superman because, above all else, it was earnest. There wasn’t a self-deprecatory tone toward its own plot. It didn’t try to bog its drama down with one-liners. It was just proud to be a comic book movie, and I think more movies should.
If you want to see Supergirl, go ahead, but I’d advise you to just read the comic, which is more dramatic, more meaningful and more impactful. —B. Allan Johnson
Read more reviews from B. Allan Johnson below: Film Review: The Bride! Film Review: Backrooms
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