Tom Stoppard's new masterwork is an early contender for play of the year.
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Ultimately, ‘Leopoldstadt’ is a powerful and sincere tribute to a vanished people. Hopefully they can live on for a little longer thanks to the last great play of the last great writer of the twentieth century.
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...there is something momentous about Leopoldstadt, which has the weight and majesty of a final drama. It is grand, contemplative and elegiac with a cast of more than 20 and a historical sweep across six decades.
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People have sometimes accused him of being too clever by half, lacking the power to move us beyond words; here is irrefutable evidence to the contrary.
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Leopoldstadt is a sprawling, noble tribute to families such as the Strausslers. You sense that, in addition to Stoppard acknowledging his Jewishness, there is an element of this intellectual and wordy playwright coming to terms with the dramatic power of emotional storytelling.
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It's an evening that leaves many people in tears. It left me profoundly moved but also full of thought and understanding. If it is Stoppard's last play, as he seems to imply, it is a very fine testament to all he has given and all he has learnt.
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Stoppard at once personal and accessible...Director Patrick Marber knits Tom Stoppard's putative swan song into a compelling whole
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This is a powerful, important new play from one of our greatest living playwrights that, should it prove to be his swansong, means he has gone out on a significant high, even as he dramatises a low point on world history.
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