In the early 1990s, Tom Stoppard had his first conversation with his mother about being Jewish. All four of his grandparents had died in the Holocaust. His mother, Martha, had never wished to talk about those times. But finally she did. They spoke, and she drew a family tree for him. That scene appears almost word for word in his new play, Leopoldstadt. Never before has he transcribed from life.
“There’s a conversation about acknowledging that you’re Jewish, even if you thought you weren’t. So finally, just in the last section, the line of my consciousness crossed the play’s consciousness.”