Word: stoppard
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Dates: during 1990-1999
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...There will be time, there will be time...And time yet for a hundred indecisions/ And for a hundred visions and revisions," wrote T.S. Eliot in "The Love Song of J. Alfred Prufrock." The performance history of Tom Stoppard's Rosencrantz and Guildenstern Are Dead has certainly borne out that point...
...King of Denmark, have a job to do. They will gladly do it, too, if they can only remember what it is and who sent for them. They talk, they joke, they spy on Hamlet. And they escort him to England where they will meet the end that Stoppard's title reserves for them...
...Stoppard employs an almost cinematic technique of cutting between actual scenes from Hamlet and his own invention. His manner is witty without being jarring, and the cast of this production are careful that the transitions are as natural and unnatural as the playwright intended...
Peter Shaffer (Equus, Amadeus) wrote this as a showcase for Dame Maggie Smith, the two-time Oscar winner who was last seen on Broadway in Tom Stoppard's Night and Day in 1979. All her trademark mannerisms are in evidence, from the nasal drawl of contempt to the wounded-crow flutter of arms and hands. So is the open-wound vulnerability that brings her fey lunacy back to earth. She takes a character who is mostly an idea, a conceit -- a person for whom pretending is more real than reality -- and invests her with poignancy and pride. In spirit Lettice...