Going Stoppard
Extending this week's review of Tom Stoppard's play, On the Razzle, at the Oregon Shakespeare Festival in Ashland, with more musings on Tom Stoppard--in particular, his comedy...
Tom Stoppard is known for the content of his plays--the historical and political themes, the erudite riffs on aspects of science, philosophy, literature. Especially in the first half of his career, up until
The Real Thing in 1982, he consciously pursued the goal of combining "a play of ideas with farce." He did so in big productions (
Jumpers at the National Theatre,
Travesties for the Royal Shakespeare Company, and both on Broadway) and in small (
Dirty Linen at the Inter-Action's Almost Free Theatre,
After Magritte for the
Ambience Lunch Hour Theatre Club, and
Dogg's Troupe Hamlet, which was first performed on the Fun Art Bus.)
Stoppard has also always been known as an innovator in structuring plays, and making the structure and the narrative dependent on each other. (This continues throughout his career.) All of this made his work very attractive to me from the moment Stoppard became known for
Rosencrantz and Guildenstern Are Dead in the late 60s, when I was in college. I felt an immediate connection--to the Samuel Beckett rhythms of that play, to the academic philosophy in
Jumpers (I'd studied analytic philosophy some in college) but most pervasively, to the 60s influences we had in common.
There are many other sources of his comedy. His debt to Oscar Wilde's epigrammatic wordplay is overt in several plays, especially
Travesties, the plot of which involves a production of
The Importance of Being Earnest. He was also not above a slightly more sophisticated form of rude and sexual humor, including sight gags (especially for instance in
Dirty Linen) that have a long lineage but are most recently familiar from Vaudeville. At times Stoppard seemed to just about provide for all four Marx Brothers in the same play. He often uses a familiar comic device from Vaudeville and the movies, of verbal misunderstandings that wind up sounding like double talk. (
Groucho and Chico's set piece dialogues were often based on this.) That style was lingering from the entry of many Vaudeville (or British Music Hall) stars into television (via radio and movies, too.)
As for later influences, in some of Stoppard's lines I hear an echo of Steve Allen, who emerged in the 50s as the first host of The Tonight Show in the 50s,and was at the height of his zany comedy in his late 60s late night show. For instance, in
On the Razzle: "I worked for a tailor once. I cooked his goose for him. Everything went well until I got confused and goosed his cook." Steve Allen (to a 1990s audience aboard the now stationary Queen Mary, which by the way Stoppard sailed on when it was active): "I'm limping because of an old football injury. I tripped on an old football."
But for other 60s influences, particularly British, I saw a lot of evidence that my guesses are pretty good in Ira Bruce
Nadel's biography of Stoppard, including one amazing
long shot. For the influences (or at least echoes) I heard in his humor were the ones I cherished, especially those that came through America from England in the 60s. Moreover, the connections were often active: these people knew each other, saw each other's work and even idolized each other.
In reference to Douglas (
Hitch Hiker's Guide to the Galaxy) Adams, I once traced a basic lineage back to Cambridge and Oxford in the 1950s, to Jonathan Miller, Peter Cook, Dudley Moore and Alan Bennett, who burst on the American scene in the Kennedy 60s with their revolutionary revue on Broadway,
Beyond the Fringe. This very English grouping of original comic skits had of course played in London earlier, and made them all stars.
There's also a particular influence on their comedy that flowed through to Monty Python and Douglas Adams of the Cambridge and Oxford ordinary language philosophers--Wittgenstein, Russell and in particular G.E. Moore, who was a towering figure at Cambridge for a half century. These and their disciplines dominated philosophy on both sides of the Atlantic for generations. We were studying it here in the 60s.
Their close analyses of language and logic was not only fodder for comedy (
Beyond the Fringe has a gem satirizing Bertrand Russell and G.E. Moore directly) but their attention to language revealed its comic potential in skewering all kinds of pretense. Though Stoppard did not attend university, he did spend time with students at Cambridge on an early production of
Rosencrantz, and his feel for the Cambridge School of philosophy--the philosopher he satirized in
Jumpers was named George Moore--may have partly come from this comedy lineage.
Stoppard's career intersected with the
Beyond the Fringe quartet in a number of ways. One of his early journalism jobs writing about theatre in London was for a magazine co-owned by Peter Cook; as a playwright, Jonathan Miller was suggested to direct one of his plays, and to star in another. Alan Bennett was by then a fellow playwright whose work was said to be an influence on Stoppard's. They were all part of the same
milieu, knowing many of the same people, and working with them in theatre and film.
But even before, the resemblance was palpable and remarked upon, as when a reviewer wrote that Stoppard's R& G Are Dead was the funniest parody of Shakespeare since a famous skit by Beyond the Fringe.
There were others in the
Oxbridge line who added to the new comedy atmosphere--David Frost and his remarkable
That Was the Week That Was brought bracing, intelligent, witty and overt social and political satire to British (and later American) TV. ( It was a later Frost show, and one of the comedians on it named John
Cleese, that inspired Douglas Adams to write in that comic vein.
Cleese of course would become part of another
Oxbridge-educated group, Monty Python.)
There was a more physical lineage of comedy in the late 50s and through the 60s, personified by Peter Sellers and fellow madcaps of the Goon Show. The physical and verbal wit were combined in, for example, the films of Richard Lester (including
A Hard Day's Night, which gave the Beatles physical comedy and witty lines--and not just the already verbally witty John Lennon.)
By the late 60s, such a combination was turning up in the most popular TV series in England, especially with children:
Doctor Who. Douglas Adams wrote for a few of Tom Baker's best years as the fourth Doctor, and he brought John
Cleese and Eleanor Bron (a fine stage actor who appeared in the Lester/Beatles' film
Help! and the Peter Cook and Dudley Moore comedy,
Bedazzled) in for a funny cameo. Another example would be the cult 60s/70s film,
The Ruling Class, which starred Peter O'Toole--a particular friend of Tom Stoppard.
This was the atmosphere that Stoppard was breathing in the London of the 60s particularly, and afterwards as well. I cherish that era and all these figures, but there is one more group I would add as being part and parcel of the kind of humor they represent. Including them I thought was a little bit of a stretch, since they aren't English but American. Yet their highly sophisticated verbal humor, its political and social application, all at a breakneck pace, became a
countercultural if not cultural phenomenon in California on the radio in the 1960s, and then nationally in the early 70s with their series of
LPs. They were (and are) called the
Firesign Theatre.
There's a stylistic, perhaps a inspirational connection, just as the Byrds and the Buffalo Springfield were inspired by the Beatles--and so, by the way, was Stoppard, who famously played pop songs when he wrote, including the Beatles and the Rolling Stones; Stoppard was also known for his resemblance to Mick Jagger, which he reputedly enhanced with his 60s wardrobe. Inspiration from popular music and music figures is another common connection to many of the 60s/70s comic influences. This again evolved into personal connections and working relationships: the Pythons parodied and worked with members of the Beatles, and Stoppard himself eventually became friends with Jagger.
But beyond this sort of "something in the air", there was one tiny revelation in
Nadel's biography, which clearly he didn't realize might lead anywhere: Tom Stoppard wrote his first version of
Rosencrantz in 1964 while he was in Berlin for five months as part of a Ford Foundation project that brought together a small group of young theatre writers from the UK and the US. They all lived together, and each wrote for a project to be staged in Berlin with German theatre artists. Stoppard's was this early
Rosencrantz. The kicker is that one of the two Americans was Peter Bergman, who returned to the US to become a founder and one of the four members of
Firesign Theatre, creating topical comedy full of wordplay and wildness on stage but especially in a series of LPs that fans across America literally memorized.
Nadel apparently had no idea what
Firesign Theatre was, but the sympathy of its comedic style with Stoppard's is apparent, at least to me. And now there is this
tantalizing biographical connection.
