Tom Stoppard on “Leopoldstadt,” and Geena Davis talks with Michael Schulman

À propos de cet épisode

<p><span>Tom Stoppard has been a fixture on Broadway since his famous early play,</span><i><span> “</span></i><span>Rosencrantz and Guildenstern Are Dead,” travelled there in 1967. Stoppard is eighty-five years old, and has largely resisted the autobiographical element in his work. But now, in “Leopoldstadt,” a play that has just opened on Broadway, he draws on his family’s tragic losses in the Second World War. Stoppard talks with</span> <span>the contributor </span><a href="https://www.newyorker.com/contributors/andrew-dickson"><span>Andrew Dickson</span></a><span> about his latest work. </span></p> <p><span>And the Oscar- and Emmy Award-winning actor Geena Davis, best known for her role in “Thelma and Louise,” talks with the staff writer </span><a href="https://www.newyorker.com/contributors/michael-schulman"><span>Michael Schulman</span></a><span> about her life and career. Davis ascribes much of her early experience on- and offscreen to a certain level of politeness, a character trait ingrained in her from childhood. “I learned politeness from minute one, I’m sure,” she tells Schulman. “That was my family: very old-fashioned New Englanders.” She reflects on her childhood, her iconic roles in the eighties and nineties, and her “journey to badassery” in her new memoir, “Dying of Politeness,” out this month. </span></p><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>