
Tom Stoppard on “Leopoldstadt,” and Geena Davis talks with Michael Schulman
The New Yorker Radio Hour
00:00
Leopoldstadt
In an early version of Leopoldstadt, or your original intention was actually to write yourself into the play. And it sounds a little bit like you then kind of wrote yourself out of the play because what we have right at the end is a character who you call Leo. He speaks for me and he ends up in tears with good reason to be in tears. I don't want to be mokish on radio, but I think I can say that they're my tears. It's a brazen self-pillage. There's an element of confessional about it, of course.
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