Theatre review - Leopolstadt
Tom
Stoppard’s epic drama follows three generations of a Viennese-Jewish family
from 1899 to the mid-1950s. At the turn of the century, Vienna is a vibrant
European city but there remain signs of the antisemitism that will explode in
later years. Jews make up a tenth of the population and most reside in the
Jewish quarter, Leopolstadt.
Hermann
(Adrian Scarborough) is a successful businessman and a convert to Catholicism. Part
of the educated class and upwardly mobile, Hermann and his extended family have
moved to a more salubrious neighbourhood.
When
the play opens, they are celebrating Christmas. Stoppard takes time to set up
the family dynamics, their concerns and relationships. Hermann’s wife, Gretl (Faye
Castelow), is having a passionate affair with a German soldier Fritz (Luke
Thallon) – an act that will later save the family’s fortune in an unexpected
twist.
Gretl’s
portrait dominates Richard Hudson’s elegant drawing room as we follow the
family’s fortunes after the First World War through to the terrifying moment
when Nazi officers come knocking in order to requisition the family home and
Hermann’s wealth.
Director
Patrick Marber’s tableaux are striking. The second half of Leopolstadt focuses
on the devastating consequence of the Holocaust and it’s impossible not to be moved.
Some members of Hermann’s family escape.
Most do not.
Central
to the final scene (set in 1955) is the incomprehension of Leo (Luke Thallon)
who, mirroring Stoppard’s experience, grew up in England, unaware of his
family’s circumstances and Jewish heritage until much later in life. Leo’s dawning realisation is spellbinding, his
memories activated by a tiny scar on his hand. The rollcall of the dead by Rosa
(Jenna Augen) in the play’s final moments is heartbreaking.
Stoppard
has said this will probably be his final full-length play – he’s 82 and Leopolstadt
took him four years to write. It’s an apt swansong to a remarkable career and
highly recommended.
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June 13
Orignally publised by Camden New Journal