Tom

Tom Stoppard, dead?

Surely, someone has made a hash of the plot. Yes, he was 88, but the Czech-born, British playwright, the true 20th century heir to Oscar Wilde, would never have arranged things so banally.

“A severe blow to Logic” is how a character describes the death of a philosophy professor in Stoppard’s 1972 play “Jumpers.” But then, as this polymath wag continues, “The truth to us philosophers, Mr. Crouch, is always an interim judgment … Unlike mystery novels, life does not guarantee a denouement; and if it came, how would one know whether to believe it?”

Few people were more agnostically alive than Stoppard, who loved the finer things in life and handsomely earned them with his inexhaustible wit. A man of consummate urbanity who lived like a country squire, he was a sportsman (cricket was his game) and a connoisseur of ideas, which he treated with a cricketer’s agility and vigor.

Stoppard announced himself with “Rosencrantz and Guildenstern Are Dead,” an absurdist lark that views “Hamlet” from the keyhole perspective of two courtiers jockeying for position in the new regime. The influence of Samuel Beckett was unmistakable in the combination of music hall zaniness and existential ruthlessness that characterized the succession of early plays that merged the Theatre of the Absurd with a souped-up version of Shavian farce.

Simple wasn’t Stoppard‘s style. The Fellini-esque profusion of “Jumpers” includes warring philosophy professors, a retired chanteuse and a chorus of acrobats, set within the frame of murder mystery that owes a debt to the gimlet-eyed social satire of Joe Orton. “Travesties,” Stoppard’s 1974 play, is built on the coincidence that James Joyce, Dadaist Tristan Tzara, and Vladimir Lenin all happened to be in Zurich during World War I — a cultural happenstance that paved the way for a dizzying alternative history, in which art faces off against politics. (Art, no surprise, wins.)

Wordplay, aphorisms and bon mots were Stoppard’s signature. Not since “The Importance of Being Earnest,” a play that Stoppard revered the way a mathematician would regard the world’s most elegant proof, has the English stage experienced such high-flying chat. Yet he acquired a reputation as a dandy, a clever humorist and an intellectual showman, distinctly apolitical and seemingly a man of no convictions.

The latter charge he no doubt would have taken as a compliment. He prided himself on having a mind unstained by certainties. But he was aware of the criticism of his work as intellectually brilliant but emotionally brittle. Virtuosity, in language and dramatic structure, was his great strength. But also perhaps his weakness — a weakness for which many lesser writers would no doubt sell their souls.

“Rosencrantz and Guildenstern” and “Travesties were indeed master manipulations of plot and language. They were also breaths of fresh air that won Tony Awards for best play and established Stoppard as a transatlantic force. It would have been perfectly natural for him to continue in this vein, but his writing took a more personal turn in “The Real Thing,” a play about a playwright learning both to write about love and to take in and appreciate its complex reality.

New York Times theater critic Frank Rich called “The Real Thing” “not only Mr. Stoppard’s most moving play, but also the most bracing play that anyone has written about love and marriage in years.” The 1984 Broadway premiere, starring Jeremy Irons and Glenn Close under the direction of Mike Nichols, won Tony Awards for its leads, Nichols’ direction, Christine Baranski’s featured performance and best play. It was Stoppard’s third such honor, and it would not be his last.

But the criticism didn’t end there. (Is it any surprise that in “The Real Inspector Hound,” his 1968 one-act, Stoppard imagined a scenario in which a critic is killed by the play he’s reviewing?) Stoppard’s cleverness, while the source of his fame and prestige, was intimidating to some and off-putting to others. Not everyone goes to the theater to be wowed by verbal pyrotechnics or daredevil plot high jinks. The blinding brilliance of his plays left theatergoers still squinting to see whether his work had much of a heart.

Stoppard ranged freely over a variety of dramatic modes. (It was this ability that made him such a valuable screenwriter and script doctor, earning him not only wealth but also a shared Oscar for the screenplay “Shakespeare in Love.”) But he had no interest in writing character studies. Domestic drama, with its psychological epiphanies and sentimental resolutions, repelled him. But neither was he drawn to the issue-laden work of his more politically minded postwar British playwriting peers, that new breed of dramatist unleashed by John Osborne’s “Look Back in Anger.”

A born entertainer who had no ideology to sell or bourgeois morality to promote, he gravitated to theater as the most exhilarating form of debate. What he called “the felicitous expression of ideas” mattered more to him than academic point-scoring. Language was a theatrical resource that could do more than win arguments.

The comedy of ideas had become self-serious over time. Stoppard was determined to restore its fun without diminishing its substance.

His astonishing erudition encouraged him to tread where few playwrights before him had dared to go. But he was too much of a sensualist to cloister himself in the archives of the British Museum.

When I interviewed Stoppard at San Francisco’s American Conservatory Theater during rehearsals for his play “The Hard Problem,” he told me that he didn’t think he ever spent more than half an hour on research. He did concede, however, “I’ve spent many, many days of my life reading for pleasure in order to inform myself about something.

How else could he have pulled off “The Coast of Utopia,” a three-play creation centered on 19th century Russian intellectuals, romantics and revolutionaries against decades of geopolitical tumult? This marathon epic earned Stoppard his fourth Tony Award for best play.

“Arcadia,” perhaps his crowning achievement, may not be as sprawling but it’s just as intellectually ambitious. It’s also perhaps his most lyrically affecting.

A literary and biographical mystery play set in an English country estate in two different time zones (one in the age of Lord Byron, the other in the era of contemporary academic sleuths), “Arcadia” owes a debt to A.S. Byatt’s “Possession.” (In her mammoth biography “Tom Stoppard: A Life,” Hermione Lee reports that “Byatt has said that Stoppard told her he ‘pinched’ the plot from her.”) But the way Stoppard incorporates mathematical concepts as rarefied as fractal geometry to explore concepts of order and chaos as the characters hypothesize on the patterns of time is Stoppardian through and through.

Stoppard’s late works are his most personal. “Rock ’N’ Roll,” which he dedicated to Vaclav Havel, explores the rebellious, Dionysian force of popular music, an eternal source of inspiration for him, in a play set partly in Prague during the Communist era. “Leopoldstadt,” which won Stoppard his fifth and last Tony for best play, is the work in which the playwright grapples, from an artistic remove, with the history he was late to discover about what happened to his Jewish family during and after the rise of Hitler.

“The Invention of Love” is one of those Stoppard plays that leaves a critic feeling both rapturous and unsatisfied, a paradoxical state but then what can anyone expect from a play that makes the poet, classicist and closet homosexual A.E. Housman a theatrical protagonist?

No play by Stoppard can be fully appreciated in a single theatrical outing. The dramaturgy is too complex, the intelligence too quick-footed and the language too dazzling for instant assessment. My fear is that the plays are too expansive for the diminished scale of dramatic production today. But Stoppard has left theatrical riches that will entice audiences for generations through their intellectual exuberance, preternatural eloquence and omnivorous delight.

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:

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.”

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.”

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.

British playwright Tom Stoppard, a playful, probing dramatist who won an Academy Award for the screenplay for 1998’s Shakespeare In Love, has died. He was 88.

In a statement on Saturday, United Agents said Stoppard died “peacefully” at his home in Dorset in southern England, surrounded by his family.

“He will be remembered for his works, for their brilliance and humanity, and for his wit, his irreverence, his generosity of spirit and his profound love of the English language,” they said. “It was an honor to work with Tom and to know him.”

When it comes to the world of comic invention and linguistic pyrotechnics, few dramatists of the 20th century could match Stoppard’s scope and sustained success.

From his earliest hit, Rosencrantz and Guildenstern Are Dead, in 1966, through to 1993’s, Arcadia, and, Leopoldstadt, in 2020, Stoppard engaged and amused theatre-goers with a highly individual brand of intellect.

His writing was often philosophical or scientific, but consistently funny, a distinctive style that gave rise to the term Stoppardian. It refers to the use of verbal gymnastics while addressing philosophical concepts.

“I want to demonstrate that I can make serious points by flinging a custard pie around the stage for a couple of hours,” the Czech-born Stoppard said in a 1970s interview.

“Theatre is first and foremost a recreation. But it is not just a children’s playground; it can be recreation for people who like to stretch their minds.”

Early years

Stoppard was born Tomas Straussler on July 3, 1937, in what was then Czechoslovakia, the son of Eugen Straussler, a doctor, and Marta (or Martha), nee Beckova, who had trained as a nurse.

The Jewish family fled the Nazis and moved to Singapore when he was an infant.

But Singapore also became unsafe, and, with his mother and elder brother Peter, he escaped to India. His father stayed behind and died while fleeing after Singapore fell to the Japanese.

In India, Marta Straussler married a British army major, Kenneth Stoppard, and the family moved to England.

Boarding school followed at Pocklington in Yorkshire, northern England, before Stoppard left school at age 17.

He decided not to go to university. Instead, he went straight to work as a reporter on a local newspaper in Bristol, in western England.

While he found reporting daunting, he threw himself into working as a theatre and cinema critic, and his love of drama took hold.

Award-winning career

His breakthrough came with the overnight success at the Edinburgh Festival Fringe of, Rosencrantz and Guildenstern Are Dead, a tragicomedy centred around two minor characters from Shakespeare’s, Hamlet.

It moved to London’s West End, before winning a Tony Award for best play in the United States.

“What’s it about?” was a frequent response from bemused theatre-goers about the play. Tired of being asked, Stoppard is said to have replied to a woman outside a theatre on Broadway: “It’s about to make me very rich.”

He later questioned whether he had said “very”, Hermione Lee wrote in Stoppard’s authorised biography, but he had undoubtedly managed to transform his previously precarious finances.

Indeed, Stoppard would go on to win numerous awards on both sides of the Atlantic for his work.

He was knighted in 1997, and in 2014, he was crowned “the greatest living playwright” by the London Evening Standard Theatre Awards.

To non-theatre-goers, he is best remembered for his work in cinema, which included the Indiana Jones and Star Wars franchises.

In 1999, he won an Oscar for his screenplay for, Shakespeare in Love, which scooped a total of seven Academy Awards that year.

“He has no apparent animus towards anyone or anything,” said film and theatre director Mike Nichols, who directed the Broadway premiere of Stoppard’s tale of marriage and affairs, The Real Thing.

“He’s very funny at no one’s expense. That’s not supposed to be possible.”

LONDON — British playwright Tom Stoppard, a giant of modern theater and Oscar-winning screenwriter known for erudition and wit, has died. He was 88.

In a statement Saturday, United Agents said Stoppard died “peacefully” at his home in Dorset in southern England, surrounded by his family.

“He will be remembered for his works, for their brilliance and humanity, and for his wit, his irreverence, his generosity of spirit and his profound love of the English language,” it said. ”It was an honor to work with Tom and to know him.”

The Czech-born Stoppard was often hailed as the greatest British playwright of his generation and was garlanded with honors, including a shelf full of theater gongs. Dizzyingly prolific, he also wrote radio plays, a novel, television series and many celebrated screenplays, including 1998’s “Shakespeare in Love,” which won an Academy Award.

His brain-teasing plays ranged across Shakespeare, science, philosophy and the historic tragedies of the 20th century. Five of them won Tony Awards for best play: “Rosencrantz and Guildenstern Are Dead” in 1968, “Travesties” in 1976, “The Real Thing” in 1984, “The Coast of Utopia” in 2007 and “Leopoldstadt” in 2023.

Stoppard biographer Hermione Lee said the secret of his plays was their “mixture of language, knowledge and feeling. … It’s those three things in gear together which make him so remarkable.”

The writer was born Tomás Sträussler in 1937 to a Jewish family in Zlín in what was then Czechoslovakia, now the Czech Republic. His father was a doctor for the Bata shoe company, and when Nazi Germany invaded in 1939 the family fled to Singapore, where Bata had a factory.

In late 1941, as Japanese forces closed in on the city, Tomás, his brother and their mother fled again, this time to India. His father stayed behind and later died when his ship was attacked as he tried to leave Singapore.

In 1946 his mother married an English officer, Kenneth Stoppard, and the family moved to threadbare postwar Britain. The 8-year-old Tom “put on Englishness like a coat,” he later said, growing up to be a quintessential Englishman who loved cricket and Shakespeare.

He did not go to a university but began his career, aged 17, as a journalist at newspapers in Bristol, southwest England, and then as a theater critic for Scene magazine in London.

He wrote plays for radio and television including “A Walk on the Water,” broadcast in 1963, and made his stage breakthrough with “Rosencrantz and Guildenstern Are Dead,” which reimagined Shakespeare’s “Hamlet” from the viewpoint of two hapless minor characters. A mix of tragedy and absurdist humor, it premiered at the Edinburgh Fringe Festival in 1966 and was staged at Britain’s National Theatre, then run by Laurence Olivier, before moving to Broadway.

A stream of exuberant, innovative plays followed, including meta-whodunnit “The Real Inspector Hound” (first staged in 1968); “Jumpers” (1972), a blend of physical and philosophical gymnastics; and “Travesties” (1974), which set intellectuals including James Joyce and Vladimir Lenin colliding in Zurich during World War I.

The musical drama “Every Good Boy Deserves Favor” (1977) was a collaboration with composer Andre Previn about a Soviet dissident confined to a mental institution — part of Stoppard’s long involvement with groups advocating for human rights groups in the Soviet Union and Eastern Europe.

He often played with time and structure. “The Real Thing” (1982) was a poignant romantic comedy about love and deception that featured plays within a play. “Arcadia” (1993) moved between the modern era and the early 19th century, in which characters at an English country house debated poetry, gardening and chaos theory as fate had its way with them.

“The Invention of Love” (1997) explored classical literature and the mysteries of the human heart through the life of the English poet A.E. Housman.

Stoppard began the 21st century with “The Coast of Utopia” (2002), an epic trilogy about pre-revolutionary Russian intellectuals, and drew on his own background for “Rock ’n’ Roll” (2006), which contrasted the fates of the 1960s counterculture in Britain and in communist Czechoslovakia.

“The Hard Problem” (2015) explored the mysteries of consciousness through the lenses of science and religion.

Stoppard was a devoted champion of free speech who worked with organizations including PEN and Index on Censorship. He claimed not to have strong political views otherwise, writing in 1968: “I burn with no causes. I cannot say that I write with any social objective. One writes because one loves writing, really.”

Some critics found his plays more clever than emotionally engaging. But biographer Lee said many of his plays contained a “sense of underlying grief.”

“People in his plays … history comes at them,” Lee said at a British Library event in 2021. “They turn up, they don’t know why they’re there, they don’t know whether they can get home again. They’re often in exile, they can barely remember their own name. They may have been wrongfully incarcerated. They may have some terrible moral dilemma they don’t know how to solve. They may have lost someone. And over and over again I think you get that sense of loss and longing in these very funny, witty plays.”

That was especially true of his late play “Leopoldstadt,” which drew on his own family’s story for the tale of a Jewish Viennese family over the first half of the 20th century. Stoppard said he began thinking of his personal link to the Holocaust quite late in life, only discovering after his mother’s death in 1996 that many members of his family, including all four grandparents, had died in concentration camps.

“I wouldn’t have written about my heritage — that’s the word for it nowadays — while my mother was alive, because she’d always avoided getting into it herself,” Stoppard told the New Yorker in 2022.

“It would be misleading to see me as somebody who blithely and innocently, at the age of 40-something, thought, ‘Oh, my goodness, I had no idea I was a member of a Jewish family,’” he said. “Of course I knew, but I didn’t know who they were. And I didn’t feel I had to find out in order to live my own life. But that wasn’t really true.”

“Leopoldstadt” premiered in London at the start of 2020 to rave reviews; weeks later all theaters were shut by the COVID-19 pandemic. It eventually opened in Broadway in late 2022, going on to win four Tonys.

Stoppard’s catalog of screenplays included the Terry Gilliam dystopian comedy “Brazil” (1985), the Steven Spielberg-directed war drama “Empire of the Sun” (1987), Elizabethan rom com “Shakespeare in Love” (1998) — for which he and Marc Norman shared a best adapted screenplay Oscar — code-breaking thriller “Enigma” (2001) and Russian epic “Anna Karenina” (2012).

He also wrote and directed a 1990 film adaptation of “Rosencrantz and Guildenstern Are Dead,” wrote the 2013 TV series “Parade’s End” and translated numerous works into English, including plays by dissident Czech writer Václav Havel, who became his country’s first post-communist president.

He was knighted by Queen Elizabeth II in 1997 for his services to literature.

He was married three times: to Jose Ingle, Miriam Stern — better known as the health journalist Dr. Miriam Stoppard — and TV producer Sabrina Guinness. The first two marriages ended in divorce. He is survived by four children, including the actor Ed Stoppard, and several grandchildren.

Sir Tom Stoppard, one of the UK’s best-known playwrights, has died aged 88, his agents have announced.

Sir Tom, who won an Oscar and a Golden Globe for the screenplay for Shakespeare In Love, “died peacefully at home in Dorset, surrounded by his family”.

His other stage work included The Real Thing, and Rosencrantz and Guildenstern are Dead.

“He will be remembered for his works, for their brilliance and humanity, and for his wit, his irreverence, his generosity of spirit and his profound love of the English language,” United Agents added.

“It was an honour to work with Tom and to know him.”

The playwright captivated the hearts of audiences for more than six decades with work that explored philosophical and political themes.

He also wrote for film, TV and radio. He adapted Leo Tolstoy’s novel Anna Karenina for the 2012 film starring Keira Knightley and Jude Law.

In 2020, he released his semi-autobiographical new work titled Leopoldstadt – set in the Jewish quarter of early 20th Century Vienna – which later won him an Olivier award for best new play and scooped four Tony awards.

Born Tomas Straussler in Czechoslovakia, he fled his home during the Nazi occupation and found refuge in Britain.

He received many honours and accolades throughout his career, including being knighted by the late Queen for his services to literature in 1997.

Sir Tom’s career as a playwright did not take off until the 1960s when Rosencrantz and Guildenstern are Dead premiered at the Edinburgh Fringe Festival. It was later performed at the National Theatre and Broadway.

The play focuses on two minor characters from Hamlet. It won several awards including four Tonys in 1968, including best play.

Nov. 19 (UPI) — Billionaire activist Tom Steyer announced his run for California governor after the former presidential candidate claimed no plans existed for him to again run for political office.

Steyer, 68, pointed to his business experience in a candidate video vying to replace term-limited Gov, Gavin Newsom, a Democrat and rumored 2028 presidential contender, saying he’s running because “Californians deserve a life they can afford.”

“Sacramento politicians are afraid to change this system. I’m not,” he added in a campaign launch video.

He joined the field with other gubernatorial candidates such as former U.S. Rep. Katie Porter, D-Calif., ex-U.S. Health and Human Services Secretary Xavier Becerra and former Los Angeles Mayor Antonio Villaraigosa.

A 2020 presidential candidate, Steyer said that his long business background separates him from other candidates.

“I wanted to build a business here. Now it’s worth billions of dollars. And I walked away from it because I wanted to give back to California,” Steyer said.

In 2010, Steyer signed the Giving Pledge vowing to donate half his massive fortune to charity during his lifetime.

On Wednesday, he said California needs to “get back to basics,” which he says meant “making corporations pay their fair share again.”

“Californians deserve a top 10 education state,” he added. “They deserve to be able to afford to live in a decent house. I will launch the largest drive to build homes that you can afford in the history of California.”

He revealed plans targeting the state’s high utility bills with California’s massive energy infrastructure, noting the west coast state has the second highest electricity rates in the United States.

Steyer, a former hedge fund manager and frequent Democratic donor in San Francisco, frequently crusades against big corporate money in politics. He later suspended his 2020 campaign in March after finishing third place in the South Carolina primary election won by Joe Biden.

“If we break up the monopolistic power of utilities, we’re going to unleash a complete wave of innovation and drop our sky-high energy prices,” Steyer continued in the video.

“This is about disrupting the way people think so we can get a completely different and much better outcome,” he said, adding it was “for the people of California.”

Billionaire hedge fund founder Tom Steyer announced Wednesday that he is running for governor of California, arguing that he is not beholden to special interests and can take on corporations that are making life unaffordable in the state.

“The richest people in America think that they earned everything themselves. Bulls—, man. That’s so ridiculous,” Steyer said in an online video announcing his campaign. “We have a broken government. It’s been bought by corporations and my question is: Who do you think is going to change that? Sacramento politicians are afraid to change up this system. I’m not. They’re going to hate this. Bring it on.”

Protesters hold placards and banners during a rally against Whitehaven Coal in Sydney in 2014. Dozens of protesters and activists gathered downtown to protest against the controversial massive Maules Creek coal mine project in northern New South Wales.

(Saeed Khan / AFP/Getty Images)

Steyer, 68, founded Farallon Capital Management, one of the nation’s largest hedge funds, and left it in 2012 after 26 years. Since his departure, he has become a global environmental activist and a major donor to Democratic candidates and causes.

But the hedge firm’s investments — notably a giant coal mine in Australia that cleared 3,700 acres of koala habitat and a company that runs migrant detention centers on the U.S.-Mexico border for U.S. Immigration and Customs Enforcement — will make him susceptible to political attack by his gubernatorial rivals.

Steyer has expressed regret for his involvement in such projects, saying it was why he left Farallon and started focusing his energy on fighting climate change.

Democratic presidential candidate Tom Steyer addresses a crowd during a presidential primary election-night party in Columbia, S.C.

(Sean Rayford / Getty Images)

Steyer previously flirted with running for governor and the U.S. Senate but decided against it, instead opting to run for president in 2020. He dropped out after spending nearly $342 million on his campaign, which gained little traction before he ended his run after the South Carolina primary.

Next year’s gubernatorial race is in flux, after former Vice President Kamala Harris and Sen. Alex Padilla decided not to run and Proposition 50, the successful Democratic effort to redraw congressional districts, consumed all of the political oxygen during an off-year election.

Most voters are undecided about who they would like to replace Gov. Gavin Newsom, who cannot run for reelection because of term limits, according to a poll released this month by the UC Berkeley Institute of Governmental Studies and co-sponsored by The Times. Steyer had the support of 1% of voters in the survey.

In recent years, Steyer has been a longtime benefactor of progressive causes, most recently spending $12 million to support the redistricting ballot measure. But when he was the focus of one of the ads, rumors spiraled that he was considering a run for governor.

In prior California ballot initiatives, Steyer successfully supported efforts to close a corporate tax loophole and to raise tobacco taxes, and fought oil-industry-backed efforts to roll back environmental law.

His campaign platform is to build 1 million homes in four years, lower energy costs by ending monopolies, make preschool and community college free and ban corporate contributions to political action committees in California elections.

Steyer’s brother Jim, the leader of Common Sense Media, and former Biden administration U.S. Surgeon General Vivek Murthy are aiming to put an initiative on next year’s ballot to protect children from social media, specifically the chatbots that have been accused of prompting young people to kill themselves. Newsom recently vetoed a bill aimed at addressing this artificial intelligence issue.

Celebs Go Dating star Tom Read Wilson has opened up about being picked as a latecomer to enter the I’m a Celebrity jungle

A new contestant is being parachuted into I’m a Celebrity – and is already feeling the pressure.

Celebs Go Dating star Tom Read Wilson says he is fully braced for one particular hardship in the jungle…no champagne. The ultra-posh 39-year-old receptionist on the E4 show, also said he was looking forward to bonding with rapper Aitch when he enters the jungle as a latecomer, who he compared to Shakespeare.

Of the booze ban, he admits: “I do have a penchant for champagne, and as it is quite a naughty tipple, I confine it to the weekend. So it is just going to feel like a very, very long week. I will never usually have a coupe of anything until Friday.” And opening up about Mancunian Aitch who he will meet when he enters the jungle alongside Vogue Williams on Thursday, he said he found him “fascinating.”

“I know that he is very bendy with words, which I adore,” Tom said. “I love new coinings. It is the reason I am mad about Shakespeare, is all the endless coinings and the sense of play with lexicon. And he has got that in spades. I know he has. And I also really think of rap as modern poetry. I wish I could do it.” For Tom, any shared love of language or the arts is enough to bond campmates, no matter how different their backgrounds.

“I have always felt that it does not matter how divergent your tastes are. If your feelings about the arts are the same, it kind of pleads you together, you know. You get excited about those things,” he said.

He says that beneath his polished exterior he is “terrified” of what lies ahead. “I shan’t sugar the pill. I am terrified. I do not think I have ever been quite so frightened,” he confessed. “But it is a funny thing with fear historically for me because it is one of those things that swells and swells and swells in my mind. And as soon as I start something, I am actually much better.”

A recent conversation with a driver called Abdi, who he describes as a “philosopher”, has helped him reframe that fear. “I got into a car the other day, and I had a little bit of a wobble,” Tom said. “Without telling the driver anything, I said, ‘Well, I am just about to do this thing that is rather challenging and I do not know if I am very well equipped’.

“His name was Abdi, the driver, and he turned out to be a philosopher. And he said, look at that enormous tree outside the car. If I told you to climb that tree, you would be very daunted. But he said, once you had started, you would find a little groove to put your foot in. You would find a branch that would bear your weight.

“And before you knew it you would be in the canopy and you would not know how you got there. I could not believe it. I was so, so delighted because it just suddenly put everything in perspective. So I think I have got the same fear, but he really contextualised it for me.”

As a lover of luxury, Tom knows jungle life will be a shock to the system. The booze ban is one thing. The rations and rice are another. “I have done intermittent fasting for years now. I never knew I was in training. It does help I think. I don’t really get hungry now until 2pm,” he says.

Asked if he will bring energy to the camp, he replies: “Oh, I hope so although I gather that they are a very zestful bunch, as it is. But I suppose it is slightly incumbent on you, if you come late, to sort of be a little bit of a warm zephyr.

“Because by then, I suppose they have endured quite a lot of hardship. I mean, they probably would have done a task or two, and they certainly would be maybe food and sleep deprived by then.” He is also slightly starstruck about finally meeting Ruby Wax, thanks to a lifelong devotion to Absolutely Fabulous, which she wrote.

“I am excited and nervous about this in equal measure, because historically I have not done very well when I have been a big fan of somebody,” he admitted. “But I am a very, very big fan of Ruby Wax. In myriad ways, because, I mean, she can talk chapter and verse about Jung, which I find fascinating. And also, I am a devotee of Ab Fab, and I have been told many times that a lot of the zingers and some of the more caustic lines in Ab Fab were Ruby’s.”

Tom says he will miss the “small people” in his life most of all. “I have got five godkids and three nephews, all of whom I speak to multiple times a week and see multiple times a month. So that is going to be a real wrench.”

To prepare, he has leaned on former jungle stars including his close friend Roman Kemp. “Roman Kemp, who is a dear friend, whom I love, he said, you must make sure that you wean yourself off coffee at least . five days before,” Tom explained. “Because, he said, that is the biggest shock. You suddenly crash and you get headaches. And that is terribly good advice for me.”

Hooker Jamie George, wing Tom Roebuck and centre Ollie Lawrence have been ruled out of Sunday’s match against Argentina as England’s tough autumn stretches the squad.

All three started the 33-19 win over New Zealand last weekend, but George and Lawrence picked up hamstring injuries while Roebuck has a foot problem.

Two other regulars, lock Ollie Chessum and centre Tommy Freeman, are again unavailable after missing the victory over the All Blacks.

Hooker Jamie Blamire, second row Charlie Ewels and uncapped teenage wing Noah Caluori come into the squad as Steve Borthwick’s side target an unbeaten autumn.

Caluori, who was named in England’s initial autumn internationals squad, scored in England A’s win over Spain on Saturday.

Argentina are in London this week after cruising past Wales and then coming back from a big deficit to stun Scotland in Edinburgh last Sunday.

Fly-half George Ford, who masterminded a 2-0 series win in Argentina in the summer, says England will be expecting a tough time against the Pumas.

“I know first-hand from being there in the summer how good a team Argentina are,” Ford told BBC Sport.

“They are an incredible, emotional and passionate team and we will have to make sure we get our prep right for that.”

Meanwhile, full-back Freddie Steward is available for selection despite failing a head injury assessment in the first half against the All Blacks.

The Rugby Football Union says Steward passed both his second and third HIAs, so is cleared to play this weekend.

If you agree with filmmaker Alejandro G. Iñárritu that Tom Cruise “doesn’t just make movies — he is movies,” then the Oscar that Cruise received at the motion picture academy’s annual Governors Awards wasn’t just long overdue. It was a restoration of balance, a necessary correction, not to mention a nod to the sheer weight of Cruise’s body of work in the collective imagination.

When multi-hyphenate Debbie Allen, herself an honoree, worked in a reference to the “tighty-whities” Cruise wore sliding across the floor in “Risky Business” into her own acceptance speech, you could understand why he received the night’s longest ovation. He really is movies. In one way or another, he completes us.

Cruise, 63, was still shaking hands and posing for pictures long after the ceremony ended Sunday night. He may in fact still be in the Ray Dolby Ballroom, listening to people tell him giddy and sometimes teary stories of when they first saw him in a movie. After Iñárritu introduced him, Cruise delivered a gracious, cinema-booster speech, at one point asking everyone in the room who had worked with him to stand.

“I carry you with me, each of you, and you are part of every frame of every film I have ever made or ever will make,” Cruise said. And yes, he was in alignment with Iñárritu. “Making films is not what I do. It’s who I am.”

Trailblazer Wynn Thomas, widely recognized as the first Black production designer in film, and Dolly Parton also received Oscars at the Governors Awards ceremony. These honorary Oscars, once part of the televised Academy Awards, were spun off into their own event in 2009.

Parton, 79, was given the Jean Hersholt Humanitarian Award. Health issues, which led to a postponement of her December Las Vegas residency, prevented Parton from attending in person. But she thanked the academy by video, saying, “We didn’t have too much to share, but my mama and daddy showed me that the more you give, the more blessings come your way. And I have been blessed more than I ever dreamed possible, like with this award tonight.”

Lily Tomlin, Parton’s “9 to 5” co-star, gave a delightful, digressive introduction. Capping the presentation, Andra Day sang a spine-tingling cover of Parton’s classic “Jolene.”

The Governors Awards are not televised and, as Will Arnett, introducing the evening, noted, “There are no commercial breaks. The orchestra is not waiting to play anybody off. There is nothing stopping us from doing this until the sun comes up.” The relaxed nature of the show gives honorees room to roam with their speeches and also offers current Oscar contenders a chance to schmooze with voters.

In one corner of the ballroom, you might find filmmakers Richard Linklater, Noah Baumbach and Joachim Trier engaged in a debate over who is better, Jean-Luc Godard or Francois Truffaut, a French New Wave throwdown inspired by Linklater’s sly homage “Nouvelle Vague.” Across the room, Sydney Sweeney, meeting Cruise for the first time, compared notes on broken bones. Outside, Iñárritu told director Ryan Coogler (“Sinners”) about his upcoming movie, starring Cruise. (“It sounds crazy,” Coogler said.)

Cruise was on everyone’s mind, except perhaps Spanish filmmaker Oliver Laxe, director of the superb thriller “Sirāt,” who did not know the actor was receiving an honorary Oscar. People offered me their favorite Cruise movies. Director Eva Victor (“Sorry, Baby”) went with “Edge of Tomorrow.” Shih-Ching Tsou (“Left-Handed Girl”) chose “Top Gun.” (“I fell in love,” she says.) And Coogler went with a wild card, picking the compulsively rewatchable 1988 comedy “Cocktail.”

“It was my parents’ favorite movie, so I saw it all the time,” Coogler says. “I know it’s nonsensical.”

Ethan Hawke, who made “The Last Movie Stars,” a six-part documentary on Paul Newman and Joanne Woodward, recalled how Newman didn’t want his honorary Oscar in 1986. He hoped to win one outright. A year later, he took the lead actor trophy for “The Color of Money,” which, yes, co-starred Cruise.

“Cruise should have won for ‘Magnolia,’ one of the best performances of my lifetime,” Hawke told me. “My suspicion is that this will be the first of many Oscars for Tom Cruise. He’ll get this honorary one and then four more in the next 20 years.”

Thomas, it could be argued, should have won a competitive Oscar years ago for any number of movies, including his striking work creating the single block setting in Brooklyn’s Bed-Stuy neighborhood for Spike Lee’s “Do the Right Thing.” Relating his journey to becoming a visual storyteller, Thomas recalled growing up in “one of the worst slums of Philadelphia,” sitting on his front stoop reading Shakespeare, James Baldwin and Tennessee Williams, immersed and transported.

“The local gangs looked down on me and called me sissy,” Thomas said. “But that sissy grew up to work with some great filmmakers.”

Presenting Allen with her Oscar, “Wicked’s” Cynthia Erivo said “to know Miss Debbie is to know that she refuses to let dreams fade and has a determination to make them happen.”

“I myself am fortunate enough to consider her my auntie,” Erivo added.

Allen’s five-decade career includes choreographing the Oscars seven times, as well as films including “Forget Paris” and “A Jazzman’s Blues.” Her producing credits include Steven Spielberg’s 1997 historical drama “Amistad.” She’s probably best known as an actor on the ’80s television series “Fame,” for which she also served as a choreographer. Her nonprofit dance academy is a Los Angeles institution.

Allen namechecked the Dodgers, her husband (the Los Angeles Lakers legend Norm Nixon) and, of course, Oscar.

“It’s like I got married … sorry, Norm,” she said, cradling the statue. “I’m definitely taking him to work with me and keeping him close to remind me, not of what I’ve done, but what I get, need and have to do.”

Tom Hofman is set for his 41st season coaching basketball at La Cañada High, including 39 as varsity coach. He’s a future Hall of Famer who keeps coaching at age 73.

The key is his wife, Cindy, still enjoying basketball, which means Tom gets to keep coaching. They’ve been married for 53 years.

“I like the kids,” he said. “My wife still loves it.”

This will be the final season of the Rio Hondo League. La Cañada has won 31 league titles under Hofman. The Rio Hondo will combine with the Pacific League next season.

“I don’t like it,” Hofman said. “It’s a shame.”

La Cañada has been running the same offense since Day 1, copied from the days of Bobby Knight at Indiana. “We tweaked it a little,” Hofman said.

That offense is the reason opposing coaches like to play zone defense against La Cañada. Players get beat for too many layups playing man-to-man against La Cañada.

Hofman is most proud of coaching neighborhood kids and making sure everyone knows he never has recruited players.

“We did it the right way,” he said. “I’ve never really made an initial contact.”

The Rio Hondo League held a media day Thursday at South Pasadena, with coaches paying respect to Hofman’s longevity at the same school.

“His passing game is amazing,” Blair coach Derrick Taylor said. “Going 41 years is a long time. He’s really amazing. He’s a first-class guy.”

He’s one of a kind as another basketball season begins next week. And he says this won’t be his final season as long as his wife keeps enjoying the game.

This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].

GIG GOERS at Butlins were left stunned when a Hollywood movie star came out onstage to DJ.

Playing some trance music at Fatboy Slim’s All Back to Minehead weekender this month, this movie star went viral on social media when fans realised who he was.

Tom Cruise’s movie co-star, Simon Pegg, was spotted DJing at holiday resort Butlins this month for the Fatboy Slim event.

Several holiday makers took to TikTok to share videos of the Mission Impossible star as he got his groove on behind the decks.

Simon could be seen DJing like a pro as he played some trance music to the crowd in front of him.

“Simon Pegg at f***ing Butlins,” one user penned over the video.

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In the caption, the TikToker added: “One of the best nights of my life, I’m a Butlins convert.”

Fans of Simon then went wild in the comments section when they realised he was DJ’ing at the holiday resort.

One person penned: “This is iconic.”

Another said: “It’s so random but loving it !!”

“Was a good gig! Just got back,” added a third.

“Everyone’s a DJ these days,” penned a fourth.

“So basically everyone’s a DJ,” wrote a fifth.

“His set is great, seen him at festivals,” said a seventh.

In May of this year, Simon opened up about his passion for DJing.

The actor has a music room at the end of the garden kitted out with CDJ-3000s and shelves of vinyl.

He regularly DJs at parties and festivals having self-taught himself three years ago.

Speaking to Hollywood Authentic, he said: “DJing reminds me of doing stand-up comedy, in that you have an audience, and they react immediately to what you’re doing.

“Stand-up is like, they either laugh or you die.

“With DJing, they either dance or you die!”

As well as his DJing stint at Butlins for the Fatboy Slim All Back to Minehead weekender, he played tunes at the Big Feastival in August 2025.

He also DJ’d in Kefalonia, Greece, at the Captain’s Bar in Skala in July 2025. 

Away from the decks, Simon is good pals with his Mission Impossible co-star Tom Cruise.

Speaking to the previously mentioned publication, Simon opened up about what he learned from Tom over the years.

He said: “I get asked about him all the time because he very rarely speaks about himself in public. You know, even in private, he’ll always switch the conversation back to you.

“But everyone’s so desperate for some kind of concrete information about him because he’s such an enigma.

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“But I think that’s part of his success, that he’s maintained that. He’s maintained the interest in himself simply by just taking a step back, because he can.

“His journey is extremely simple when you look at it. He’s just always given 100% to everything that he does. Everything,” he added.

Hong Kong Open – third round

-20 T McKibbin (NI); -19 MJ Maguire (US); -18 P Uihlein (US); -17 K Aphibarnrat (Tha), S Hend (Aus); -16 C Howell (US), L Oosthuizen (SA).

Selected others: -9 S Horsfield (Eng), P Reed (US); -8 T Gooch (US); -5 P Casey (Eng).

Full leaderboard, external

Tom McKibbin strengthened his bid to qualify for next year’s Masters and Open Championship with a third-round 65 as he continued to lead the Hong Kong Open.

After opening the tournament with a course record of 60 and carding a second-round 65, McKibbin registered one bogey and two birdies in the opening four holes of day three in Fanling.

The 22-year-old would add another birdie on the 12th before consecutive birdies on hole 16 and 17 took his total to 65 on the penultimate day.

The winner of the event will qualify for the 2026 Masters, while the highest-placed non-exempt player who makes the cut will earn a place at the 154th Open.

The Northern Ireland native is attempting to qualify for next year’s Masters for the first time, and the Open Championship at Royal Birkdale in July.

McKibbin’s lead over M.J. Maguire was reduced to one after 54 holes, with Peter Uihlein two shots behind and Kiradech Aphibarnrat and Scott Hend three off the pace.