![]() Stoppard explains the societal complacency and changing political tides that allowed Nazism to overtake Austria and Europe his voice boxes debate the founding of Israel they question why somebody would abandon their Jewish identity and convert to Catholicism before the risk to their life was obvious and he still finds some air to provide an exhaustive family history (growing family trees are projected, but we don’t process them). There is simply too much sprawl here for a just-over-two-hour runtime to contain, and there are so many lofty aims that don’t cohesively gel. Joan MarcusĬharacters do not develop in “Leopoldstadt” so much as make cameo appearances or, if we do see them again, apply a bit of old-age makeup and adjust their voices to be gravelly. They are not compellingly human. ![]() “Leopoldstadt” takes place over five decades in Vienna, Austria. When we arrive at the shattering ending scene - a paralyzing moment of repressed memory and confronting the past - we’ve forgotten half of the people we met along the way. The pages of Stoppard’s drama, loosely inspired by the British playwright’s own family, slowly flip like a hefty fading photo album, too, and while that strikes an appropriate tone it also creates a theatrical problem. Many of their names, even so, are lost to time. The devastating new documentary “ Three Minutes: A Lengthening,” similarly, is about a recently discovered reel of film that is the only evidence that thousands of murdered Jewish residents of a small Polish town ever lived. “Leopoldstadt” depicts a wealthy Viennese Jewish family enduring the turbulent years between 18, and that picture remark resonates powerfully as to the unspeakable damage done by World War I, World War II and the Holocaust, which rocks the play’s tight-knit clan as time goes on. At the Longacre Theatre, 220 West 48th Street. 2 hours and 10 minutes with no intermission.
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