In the world of theatre, few experiences can rival the thrill of witnessing a legendary playwright's work come to life. Actor Brian Cox takes us behind the scenes of one such captivating encounter in his review of Tom Stoppard's 'Rock'n'Roll'.
Cox, a long-time admirer of Stoppard, recalls the excitement of being cast in the 2006 production, having followed the playwright's career since the groundbreaking 'Rosencrantz and Guildenstern Are Dead' in 1967. But it was 'Rock'n'Roll' that truly left an indelible mark.
The play, directed by Trevor Nunn at the Royal Court in London, starred Rufus Sewell as Jan, a Czech student returning to Prague in 1968, and Cox as Max, a Marxist academic. However, the production was more than just a play; it was a profound statement of Stoppard's beliefs. It intertwined the stories of Sappho, the Ancient Greek poet, and the Soviet takeover in Czechoslovakia, with a focus on the Plastic People of the Universe, a real-life Czech band banned by the communist government despite their non-political stance.
Cox's character, Max, was based on the intellectual Marxist Eric Hobsbawm, but Stoppard's emphasis on ideas over characters was evident. When Cox questioned his role, Stoppard's response was both straightforward and enigmatic: 'Because you are.' This interaction highlights Stoppard's ability to corner his actors with his purposeful ideas, yet always maintain a charming demeanor.
The opening night was a star-studded affair, with former Czechoslovak president Václav Havel, historian Timothy Garton Ash, and Pink Floyd's Dave Gilmour in attendance. Cox recalls a memorable moment of seeing Mick Jagger being spoon-fed by his girlfriend through the curtain. The play was a critical and audience success, both in London and New York, showcasing Stoppard's understanding of the audience's needs without compromise.
Stoppard's personal life added an intriguing layer to his work. Despite his Czechoslovak roots, he embodied quintessential Englishness, almost upper-class in manner. A charming anecdote involves Cox and his wife, Nicole Ansari (who played Lenka in the show), encountering Stoppard sitting in his car near the Royal Court. When asked if he was okay, Stoppard explained he was waiting for the meter to reach 12 pm to deposit his coin, all in the name of elegance. This anecdote encapsulates Stoppard's belief in the importance of elegance and timing in life.
But here's where it gets controversial: was Stoppard's emphasis on ideas over characters a strength or a limitation? Did his purposeful writing leave room for actors to bring their own interpretations? Share your thoughts on this theatrical masterpiece and the art of character development in the comments below!
