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Tom Stoppard Poster

Biography

Jump to: Overview (3)  | Mini Bio (1)  | Spouse (3)  | Trivia (22)  | Personal Quotes (31)

Overview (3)

Born in Zlín, Czechoslovakia [now in Czech Republic]
Birth NameTomas Straussler
Height 6' 1¼" (1.86 m)

Mini Bio (1)

Tom Stoppard was born on July 3, 1937 in Zlín, Czechoslovakia as Tomas Straussler. He is a writer and actor, known for Shakespeare in Love (1998), Brazil (1985) and Rosencrantz & Guildenstern Are Dead (1990). He has been married to Sabrina Guinness since 2014. He was previously married to Miriam Stoppard and Jose Ingle.

Spouse (3)

Sabrina Guinness (2014 - present)
Miriam Stoppard (1972 - 1992) ( divorced) ( 2 children)
Jose Ingle (1962 - 1972) ( divorced) ( 2 children)

Trivia (22)

He worked as script doctor and re-write uncredited on: Indiana Jones and the Last Crusade (1989), Sleepy Hollow (1999), K-19: The Widowmaker (2002), and others.
He was awarded the OM (Order of Merit) in the 2000 Queen's Honours List for his services to drama.
He was awarded the CBE (Commander of the Order of the British Empire) in the 1978 Queen's Honours List and awarded Knight Bachelor of the Order of the British Empire in the 1997 Queen's Honours List for his services to drama.
He was awarded the Laurence Olivier Theatre Award in 1994 (1993 season) for BBC Award for Best Play for "Arcadia" at the Royal National Theatre.
His drama, "The Invention of Love", was nominated for a 1998 Laurence Olivier Theatre Award for Best New Play of the 1997 season.
His play, "The Coast of Utopia" (Voyage/Shipwreck/Salvage) performed at the Royal National Theatre: Oliver, was nominated for a 2003 Laurence Olivier Theatre Award for BBC Award for Best New Play of 2002.
His play, The Invention of Love, was awarded the 1997 London Evening Standard Theatre Award for Best Play.
Has won Broadway's Tony Award four times as author of a Best Play winner: in 1968 for "Rosencrantz and Guildenstern Are Dead," in 1976 for "Travesties," in 1984 for "The Real Thing," and in 2006 for the three play series "Coast of Utopia". He has also been nominated in the same capacity an additional three times: in 1995 for "Arcadia," in 2001 for "The Invention of Love," and in 2008 for "Rock 'n' Roll".
Two sons, with Jose Ingle, Oliver Stoppard and (Barnaby) Barny Stoppard.
Sons, with TV doctor Miriam Stoppard, producer Will Stoppard and actor Ed Stoppard.
Admirer of Margaret Thatcher.
Father-in-law of violinist Linzi Stoppard.
Ranked #11 in the 2008 Telegraph's list "the 100 most powerful people in British culture".
Tony Award for Best Play 2006: The Coast of Utopia.
When Stoppard's family (then named "Straussler") fled Czechoslovakia to escape the Nazis, they stopped identifying as Jews. Stoppard was still a young child when this happened, and by the end of the war, his father had died and his mother had remarried to a British man named Kenneth Stoppard, who gave Tom his last name and insisted that the family's former Judaism be kept secret. Tom was only given very vague information concerning his family's Judaism until he was far into his adulthood, when he discovered that all four of his grandparents were Jewish and prisoners at Terezin (Theresienstadt) Concentration Camp, where they were murdered by the Nazis. When he became more interested in exploring his Jewish roots, his stepfather asked (in 1996) that he stop using the name "Stoppard" because he didn't want his name to be associated with a Jew. Tom responded that this was an impractical request, since by that time he was almost 60 years old and had been living, writing, and winning theater and literary awards under the name "Tom Stoppard" for a very long time.
He has been friends with A.C.H. Smith since they worked together on the Western Daily Press in Bristol in the early 60s.
His play, "Travesties" at the Remy Bumppo Theatre Company in Chicago, Illinois was nominated for a 2015 Joseph Jefferson Equity Award for Midsize Play Production.
His play, "Hapgood," at the Center Theatre Group/Ahmanson Theatre production in association with Michael Codron Ltd. at the James A. Doolittle Theatre (University of California) in Los Angeles, California was awarded the 1989 Drama-Logue Award for Production.
He was awarded the 1999 Los Angeles Drama Critics Circle Award for Distinguished Writing for "Arcadia" in a Gordon Davidson and Mark Taper Forum production at the Mark Taper Forum Theatre in Los Angeles, California.
His play, "Arcadia" in a Gordon Davidson and Mark Taper Forum production at the Mark Taper Forum Theatre in Los Angeles, California was awarded the 1999 Los Angeles Drama Critics Circle Award for Distinguished Production.
He was awarded the 1987 Drama Logue Award for Outstanding Achievement in Playwriting (Adaptation) for "Largo Desolato," was performed at the Mark Taper Too Forum Theatre in Los Angeles, California.
His play, "Arcadia" at the Writers Theatre in Chicago, Illinois was nominated for a 2016 Joseph Jefferson (Equity) Award for Large Play Production.

Personal Quotes (31)

The bad end unhappily, the good unluckily. That is what tragedy means.
Age is a very high price to pay for maturity.
Actors are the opposite of people.
If an idea's worth having once, it's worth having twice.
Life is a gamble at terrible odds. If it were a bet, you would not take it.
If Beethoven had been killed in a plane crash at the age of 22, it would have changed the history of music... and of aviation.
It is better to be quotable than to be honest.
The days of the digital watch are numbered.
The truth is always a compound of two half-truths, and you never reach it, because there is always something more to say.
Skill without imagination is craftsmanship and gives us many useful objects such as wickerwork picnic baskets. Imagination without skill gives us modern art.
It's not the voting that's democracy, it's the counting.
We cross our bridges when we come to them and burn them behind us, with nothing to show for our progress except a memory of the smell of smoke, and a presumption that once our eyes watered.
Every exit is an entry somewhere.
Revolution is a trivial shift in the emphasis of suffering.
Eternity's a terrible thought. I mean, where's it going to end?
Never believe in mirrors or newspapers.
I agree with everything you say, but I would attack to the death your right to say it. [parodying the saying of Voltaire: "I disapprove of what you say, but I will defend to death your right to say it."]
[In 1968] I was asked to sign a protest against "censorship" after a newspaper declined to publish somebody's manifesto. "But that isn't censorship," I said. "That's editing. In Russia you go to prison for possessing a copy of Animal Farm. That's censorship."
[In 1968] A few miles away across the Channel, clashes between protesters and riot police were affairs of burning cars, overturned buses and buildings turned to rubble. Our own street-fighting man was only rock 'n' roll.
[In 1968] It wasn't all posh, of course. The "scene", as we called it, was more populously located in a shifting underground of art events - exhibitions, gigs, happenings, poetry readings - in dark places around Covent Garden and elsewhere and here the word "revolution" takes on some substance, I think. It was not a social revolution, but there was a sense of a cultural revolution pivoted on that moment. Unfortunately, I was embarrassed by that, too. I loved the music and the dressing up but I couldn't take to the dialogue: a reductive argot of comrade-jargon and bogus wisdom derived from misunderstood eastern religions.
If I had known in 1968 what we were going to squander, long before we had the excuse of 9/11, I might have joined in the fun with less embarrassment, with less to lose. But at the time all the goings-on seemed frivolous compared with the freedoms we had invented - or should I say the freedoms you invented?

'I was 31, I had been earning a living for 14 years, I was too old, too self-conscious, too monogamous, too frightened of drugs, too much in love with England and too hung up to let it all hang out.
Early on in my career, I had an interview with Mr Charles Wintour, the editor of the Evening Standard. At one point, Mr Wintour asked me if I were interested in politics. Thinking all journalists should be interested in politics, I told him I was. He then asked me who the current home secretary was. Of course, I had no idea who the current home secretary was, and, in any event, it was an unfair question. I'd only admitted to an interest in politics. I hadn't claimed I was obsessed with the subject.
I find, looking back on my plays in general, that things tended to work out better if I didn't quite know where I was going with them.
I think, like a lot of writers, I've got a cheap side and an expensive side. I mean rather like a musician might stop composing for a few days to do a jingle for 'Katomeat' because he thinks it's fun.
The first time I met Harold Pinter was when I was a student journalist in Bristol and he came down to see a student production of The Birthday Party. I realised he was sitting in front of me. I was tremendously intimidated and spent a good long time working out how to engage him in conversation. Finally, I tapped him on the shoulder and said, 'Are you Harold Pinter or do you just look like him?' He said, 'What?' So that was the end of that.
In the period just before the arrival of Margaret Thatcher, politics had been in such low esteem. Everything was so hedged, so mealy-mouthed. Then along came this woman who seemed to have no manners at all and who said exactly what she thought. She turned the political scene into a kind of Bateman cartoon, and everyone's eyes were popping and their jaws were dropping. I really enjoyed that, although I don't consider that period a good influence on my own world.
I find it deeply embarrassing when, because art takes notice of something important, it's claimed that the art is important. It's not. We are talking about marginalia - the top tiny fraction of the whole edifice. When Auden said his poetry didn't save one Jew from the gas chamber, he'd said it all.
I'm an English middle-class bourgeois, who prefers to read a book to almost anything else. It would be an insane pretension for me to write 'poems of a petrol bomber'.
I came here [to Britain] when I was eight. Within minutes, it seems to me, I had no sense of being in an alien land and my feelings for English landscape, English architecture, English character, all this, have just somehow become stronger and stronger.
The term artist isn't intelligible to me if it doesn't entail making.
I wrote a play about Charles I when I was twelve. It was surprisingly conventional; he died in the end.

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