Kim's Coast of Utopia - Part III

Evening

The Stoppard citing consumed me. I remember that his new play Rock and Roll opens next week but preview began last week. This all makes sense; he is in town to tweak the show. After dinner, I made my way to the Royale Theatre on 45th Street in search of a photo op with Stoppard.

As I waited, Trevor Nunn walked by me….I thought I was going to hyperventilate. Five minutes later, Nunn (with his wife and famed British Actor Imogene Stubb) and Stoppard are walking right towards me.

A word of explanation for those who do not live in the world of theatre. Tom Stoppard is - arguably - our generation’s greatest living playwright. Theatre titles include: Rosencrantz and Guildenstern are Dead, Jumpers, The Invention of Love and The Coast of Utopia (which included three separate but evolving plays. Last March, I did the Utopia marathon. I saw all three plays in one day. It began at 11 and finished at 11 pm) . Stoppard also won an Oscar for writing the screenplay for Shakespeare in Love. Trevor Nunn is Britain’s most celebrated director who is responsible for titles such as Cats and Les Miserables.

I said, “Excuse me, Mr. Nunn, can I implore you to take a photo with me?” He said, “I can’t believe you recognized me.” I responded, “Are you kidding? I am a director. I absolutely know who you are.” I then took a breath and said, “Mr. Stoppard would you join us in this photo?” “I would be thrilled” he answered.

Trevor Nunn then asked me who I was and what I did. I cannot believe -yet - that I was introducing myself to these living legends.

I took this as a sign. I ran to TKTS with 3 minutes until close and asked if they had any tickets for Rock and Roll. He found me a 6 row orchestra seat for $50. I told the clerk that I may have to kiss him…he held me to it. I had to give his service window a little smooch.

As I darted back to the theatre, Stoppard was walking out. I said, “Are you not going to the show? Do you not have a ticket? This is so sad, but I will totally spot you the money.” He laughed. He needed to have a smoke before curtain, and he planned on standing in the back. Then he said, “So tell me again where and what you teach.” I did. He then said, “South Dakota…it sounds so romantic.” My response was, “Wow, you are a cheap date. However, I would love to invite you to visit us. My gosh, my students would canonize me.”

The final lights were flicked, so I went into to take my seat. Once I sat down, I realized that I had not thought on my feet enough to give Stoppard my card. I got up and went back to speak with him - again. I told him that I was trying to write a directorial comparison and would love to hear his opinion. He said, “I know nothing about directing, but I will give your information to Trevor.” I responded, “You and I both know that you not knowing anything about directing is not true, but I would appreciate any help you could give.”

I took my seat…all smiles. As the lights went down, I took a final look to the back to see if Stoppard was – in fact – pacing the back. What I saw was that James Earl Jones was seated two rows behind me.

At intermission, I approached JEJ and asked him for his autograph. He said, “First things first. My name is James Earl Jones and who are you?” Me: “Kim Bartling. I am a theatre prof from South Dakota.” JEJ: “Oh my, you need to meet my wife Cecilia. Also, what is this book I am signing?” Me: “It is just a journal. I take notes throughout every show I see.” JEJ: “You are a teacher.” I spent the entire intermission speaking with JEJ and his wife Cecilia Hart.

Rock and Roll is a typical Stoppard play - hip, fast and cerebral. It parallels the political demise of Czechoslovakia with the evolution of classic rock and roll (Beach Boys, Pink Floyd, Greatful Dead, Rolling Stones etc.) The acting was amazing and the conceit brilliant. However, I feel that there was a Directing 101 error. True to a Stoppard script, there are numerous scenes. During each change, the audience was put in the dark as an appropriate song transitioned us. There was a scrim on which was projected all the music recording info (where and when it was recorded, producers, musicians and vocal, etc). These moments were too many and too long. It allowed the audience to mentally leave the action. I do not understand why they didn’t shoot the projection onto the scrim while we watched the transition in grey….unfortunately, no one asked me.

Pinch me. I met Christopher Durang, Jefferson Mays, Trevor Nunn, Tom Stoppard and James Earl Jones all in one day...so many men...so little time.