Podcasts about coast of utopia

Welcome to another episode of the Bowie Book Club, where wild speculation and grasping for straws about Bowie's favorite books has reigned supreme since 2016. This time we read The Coast of Utopia by Tom Stoppard - a play where a lot happens just off stage and there's a lot of talking about thinking.

Tom Stoppard and William Shakespeare loom large in the canon of English drama. Two new books explore their lives, their work, their driving forces and their impact on theatre.

Tom Stoppard and William Shakespeare loom large in the canon of English drama. Two new books explore their lives, their work, their driving forces and their impact on theatre.

Tom Stoppard and William Shakespeare loom large in the canon of English drama. Two new books explore their lives, their work, their driving forces and their impact on theatre.

Tom Stoppard and William Shakespeare loom large in the canon of English drama. Two new books explore their lives, their work, their driving forces and their impact on theatre.

Tom Stoppard and William Shakespeare loom large in the canon of English drama. Two new books explore their lives, their work, their driving forces and their impact on theatre.

Tom Stoppard and William Shakespeare loom large in the canon of English drama. Two new books explore their lives, their work, their driving forces and their impact on theatre.

Bill and Joel read Tom Stoppard's The Coast of Utopia, which is a trilogy of plays about mid-19th century Russian thinkers! The Broadway production still holds the record for the most Tony awards won by a play. Spoiler alert: one of us didn't like this one very much! Bill and Joel also read a big chunk of Isaiah Berlin's Russian Thinkers, which is the book that helped inspire the Stoppard.

This is a workpack for Tom Stoppard's The Coast of Utopia staged at the National Theatre in 2002.

Multiple Tony Award-winning playwright Sir Tom Stoppard talks about his latest work to appear on Broadway, "Rock 'n' Roll", including why he feels the play's love story, not its intellectual themes, ultimately drove the shape of the story and whether there's truth to the rumor that he wanted to cut the play but was persuaded not to by director Trevor Nunn; recounts the development of his epic "The Coast Of Utopia" and the extraordinary experience of seeing the trilogy performed in Russia; considers whether there's any thematic link between "Utopia" and "Rock 'n' Roll", as bookends to the rise and fall of communism; recalls his overnight success (after seven years of writing) with "Rosencrantz And Guildenstern Are Dead"; reveals the play of his that he feels has perhaps not gotten its due before audiences; speaks out about those who claim viewers need to read up before seeing a Stoppard play; muses on the differences between theatre programs in the U.S. and Britain; and shares what rock and roll album is tops on his personal playlist right now. Original air date - January 25, 2008.

Multiple Tony Award-winning playwright Sir Tom Stoppard talks about his latest work to appear on Broadway, "Rock 'n' Roll", including why he feels the play's love story, not its intellectual themes, ultimately drove the shape of the story and whether there's truth to the rumor that he wanted to cut the play but was persuaded not to by director Trevor Nunn; recounts the development of his epic "The Coast Of Utopia" and the extraordinary experience of seeing the trilogy performed in Russia; considers whether there's any thematic link between "Utopia" and "Rock 'n' Roll", as bookends to the rise and fall of communism; recalls his overnight success (after seven years of writing) with "Rosencrantz And Guildenstern Are Dead"; reveals the play of his that he feels has perhaps not gotten its due before audiences; speaks out about those who claim viewers need to read up before seeing a Stoppard play; muses on the differences between theatre programs in the U.S. and Britain; and shares what rock and roll album is tops on his personal playlist right now. Original air date - January 25, 2008.

Multiple Tony Award-winning playwright Sir Tom Stoppard (for Rosencrantz and Guildenstern Are Dead, Travesties, The Real Thing and the Coast of Utopia) talks about his latest work to appear on Broadway, Rock 'n' Roll, including why he feels the play's love story, not its intellectual themes, ultimately drove the shape of the story and whether there's truth to the rumor that he wanted to cut the play but was persuaded not to by director Trevor Nunn; recounts the development of his epic The Coast Of Utopia and the extraordinary experience of seeing the trilogy performed in Russia; considers whether there's any thematic link between Utopia and Rock 'n' Roll, as bookends to the rise and fall of communism; recalls his overnight success (after seven years of writing) with Rosencrantz And Guildenstern Are Dead; reveals the play of his that he feels has perhaps not gotten its due before audiences; speaks out about those who claim viewers need to read up before seeing a Stoppard play; muses on the differences between theatre programs in the U.S. and Britain; and shares what rock and roll album is tops on his personal playlist right now.

Director Jack O'Brien announces his new title as Artistic Director Emeritus at San Diego's Old Globe Theatre and charts his quarter-century tenure as Artistic Director from his hiring in 1981; reveals his original plans to be a musical comedy writer and star; describes his apprenticeship as a director in the APA Repertory Company under such mentors as Ellis Rabb and John Houseman; remembers his final acting appearance -- opposite Christopher Walken -- and how that set him firmly on the directing path for good; discusses his emergence as an acclaimed director of both musical comedies (including "Hairspray" and "The Full Monty") and the plays of Tom Stoppard (including "Hapgood" and "The Coast of Utopia"); and shares the impetus behind the creation of the stage version of "How The Grinch Stole Christmas". Original air date - December 14, 2007.

Director Jack O'Brien (Tony Award winner for Hairspray and The Coast of Utopia) announces his new title as Artistic Director Emeritus at San Diego's Old Globe Theatre and charts his quarter-century tenure as Artistic Director from his hiring in 1981; reveals his original plans to be a musical comedy writer and star; describes his apprenticeship as a director in the APA Repertory Company under such mentors as Ellis Rabb and John Houseman; remembers his final acting appearance -- opposite Christopher Walken -- and how that set him firmly on the directing path for good; discusses his emergence as an acclaimed director of both musical comedies (including Hairspray and The Full Monty) and the plays of Tom Stoppard (including Hapgood and The Coast of Utopia); and shares the impetus behind the creation of the stage version of How The Grinch Stole Christmas.

Director Jack O'Brien announces his new title as Artistic Director Emeritus at San Diego's Old Globe Theatre and charts his quarter-century tenure as Artistic Director from his hiring in 1981; reveals his original plans to be a musical comedy writer and star; describes his apprenticeship as a director in the APA Repertory Company under such mentors as Ellis Rabb and John Houseman; remembers his final acting appearance -- opposite Christopher Walken -- and how that set him firmly on the directing path for good; discusses his emergence as an acclaimed director of both musical comedies (including "Hairspray" and "The Full Monty") and the plays of Tom Stoppard (including "Hapgood" and "The Coast of Utopia"); and shares the impetus behind the creation of the stage version of "How The Grinch Stole Christmas". Original air date - December 14, 2007.

Three-time Tony Award-winning costume designer Catherine Zuber talks about the process of costume design and the nature of the collaboration between designers and a director; explains how she chooses her projects -- and how many she takes on each year; recounts the challenge of creating 600 costumes for the Lincoln Center Theatre production of "The Coast Of Utopia"; describes the development of the costumes for the multiple incarnations (and changing cast members) of "The Light In The Piazza"; shares how she made the career transition from photographer to designer; and dispenses some tips to aspiring designers about how to develop their skills. Original air date – June 29, 2007.

Five-time Tony Award-winning costume designer Catherine Zuber (for The Light in the Piazza, Awake and Sing!, The Coast of Utopia, South Pacific and The Royal Family) talks about the process of costume design and the nature of the collaboration between designers and a director; explains how she chooses her projects -- and how many she takes on each year; recounts the challenge of creating 600 costumes for the Lincoln Center Theatre production of The Coast Of Utopia; describes the development of the costumes for the multiple incarnations (and changing cast members) of The Light In The Piazza; shares how she made the career transition from photographer to designer; and dispenses some tips to aspiring designers about how to develop their skills.

Three-time Tony Award-winning costume designer Catherine Zuber talks about the process of costume design and the nature of the collaboration between designers and a director; explains how she chooses her projects -- and how many she takes on each year; recounts the challenge of creating 600 costumes for the Lincoln Center Theatre production of "The Coast Of Utopia"; describes the development of the costumes for the multiple incarnations (and changing cast members) of "The Light In The Piazza"; shares how she made the career transition from photographer to designer; and dispenses some tips to aspiring designers about how to develop their skills. Original air date – June 29, 2007.

Four actors from the 42-member The Coast of Utopia company -- Tony Award winner Jennifer Ehle (2000 Best Actress Award for The Real Thing), Josh Hamilton, Ethan Hawke and Amy Irving -- talk about the experience of appearing in Tom Stoppard's triptych of 19th century Russian intellectual history, including their own trepidation at working with the brilliant Stoppard; adapting language written by an English playwright for Russian characters to the comfort of American actors -- and audiences; the thrill of working in a variant of a classical repertory company; whether they chose to research the era and their characters; and why they chose to spend a year of their lives with this project, playing parts both large and small.

Four actors from the 42-member "The Coast of Utopia" company -- Jennifer Ehle, Josh Hamilton, Ethan Hawke and Amy Irving -- talk about the experience of appearing in Tom Stoppard's triptych of 19th century Russian intellectual history, including their own trepidation at working with the brilliant Stoppard; adapting language written by an English playwright for Russian characters to the comfort of American actors -- and audiences; the thrill of of working in a variant of a classical repertory company; whether they chose to research the era and their characters; and why they chose to spend a year of their lives with this project, playing parts both large and small.

Amy Irving talks about her experience seeing part two of "The Coast of Utopia" when it premiered in England, and her response when director Jack O'Brien asked her to play two roles in the trilogy's U.S. premiere; her homecoming to the Vivian Beaumont Theatre, where she spent her teenage years as her parents led the Repertory Theatre of Lincoln Center; her good fortune of working Arthur Miller on the premiere of "Broken Glass" and both acting with and being directed by Athol Fugard in his "The Road to Mecca"; and the experience of having a play, "Celadine", written expressly for her. Original air date – March 9, 2007.

Amy Irving talks about her experience seeing part two of "The Coast of Utopia" when it premiered in England, and her response when director Jack O'Brien asked her to play two roles in the trilogy's U.S. premiere; her homecoming to the Vivian Beaumont Theatre, where she spent her teenage years as her parents led the Repertory Theatre of Lincoln Center; her good fortune of working Arthur Miller on the premiere of "Broken Glass" and both acting with and being directed by Athol Fugard in his "The Road to Mecca"; and the experience of having a play, "Celadine", written expressly for her. Original air date – March 9, 2007.

Billy Crudup recalls how he messed up his first audition but still managed to be cast in his Broadway debut, "Arcadia"; describes the communal spirit that guided the 2002 production of "The Elephant Man", and how it differed from his work with director Simon McBurney in "The Resistible Rise Of Arturo Ui"; relates the thrill of manipulating audiences in Martin McDonagh's "The Pillowman"; and reflects on whether we -- and he -- should be reading up on Russian history to prepare for "The Coast Of Utopia". Original air date – March 2, 2007.

Billy Crudup recalls how he messed up his first audition but still managed to be cast in his Broadway debut, "Arcadia"; describes the communal spirit that guided the 2002 production of "The Elephant Man", and how it differed from his work with director Simon McBurney in "The Resistible Rise Of Arturo Ui"; relates the thrill of manipulating audiences in Martin McDonagh's "The Pillowman"; and reflects on whether we -- and he -- should be reading up on Russian history to prepare for "The Coast Of Utopia". Original air date – March 2, 2007.

Billy Crudup recalls how he messed up his first audition but still managed to be cast in his Broadway debut, "Arcadia"; describes the communal spirit that guided the 2002 production of "The Elephant Man", and how it differed from his work with director Simon McBurney in "The Resistible Rise Of Arturo Ui"; relates the thrill of manipulating audiences in Martin McDonagh's "The Pillowman"; and reflects on whether we -- and he -- should be reading up on Russian history to prepare for "The Coast Of Utopia". Original air date – March 2, 2007.