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11 of 11 people found the following review helpful:
5.0 out of 5 stars
A Monumental Work, April 22, 2007
Stoppard's Coast of Utopia is marvelous, and reading the plays before you see them enhances the experience. For his canvas, Stoppard uses Russia in the mid 19th century, a period of tremendous turmoil that saw the Decembrist uprising of 1825, the death of Nicholas I, the emancipation of the serfs, and growing revolutionary sentiment in that huge and backward land. The other backdrop for Coast of Utopia is the political and social unrest in Europe, including the various revolutions of 1848, and the development of socialist/communist political theory.
For his story, Stoppard traces the lives of various of the young Russian intellectuals (for whom the term intelligentsia was coined) who saw their country's backwardness, oppression and poverty and dreamed and dared that it could be different. The central characters in The Coast of Utopia are Alexander Herzen, Michael Bakunin, Nicholas Ogarev, Ivan Turgenev and Vissarion Belinsky, but other historical figures also play roles.
The Russian intellectuals who sought change in Russia were hampered by many obstacles; harsh censorship, which made open political dialogue a crime punishable by exile or worse, an utter absence of democratic institutions, a huge peasant class that was largely ignorant of and oblivious to their efforts, and the Tsar and a coterie of landowners, bureaucrats and priests who were largely satisfied with the status quo.
In The Coast of Utopia, Stoppard adroitly mixes social themes with political theory and history. As one might imagine, as these Russians groped for ideas about how their country should be reformed, there were differences of opinion. Initially, the reformers, such as Herzen, favored gradual reform, led by the Tsar; as the 19th century progressed, more radical thought, influenced by Marx, came to predominate, and more moderate voices, such as Herzen's, were drowned out by the increasing call for violent revolution. Stoppard does a fabulous job in showing the various intellectual currents that ran among the exiles by having them argue out their theories on stage in the course of the play.
All this might sound talky and dull, but it's not, for two reasons. One is Stoppard's genius at showing how real people discuss these ideas. One minute we have two characters debating Hegel; the next minute they're attending their children, just the way real life interrupts all sorts of activities. And the lives of the main characters were sometimes untidy, and for that reason interesting; we see their joys, their sorrows, their love affairs and their occasional melancholy on being separated from Russia for so long.
The second is the staging of the plays; I could go on and on, but I was utterly wowed by the Lincoln Center production, it is magnificent and at times transcendent.
But ultimately what makes Coast of Utopia so interesting is that it's a series of plays about ideas, what is the best way to modernize and democratize a backward society. Of course, we see this play through the lens of history, after the revolution in Russia and after communism has been justifiably relegated to the dustbin of history. So we know how disastrous the actual revolution proved to be. But one of the strengths of Stoppard's work is that he doesn't fall prey to easy triumphalism about the later result. Instead he shows these men, mostly in a sympathetic light, trying to imagine a better society for Russia, and then taking the first steps toward making that better Russia come to pass. Without a doubt, Stoppard sees Herzen as his hero, and Herzen, with remarkable prescience, clearly saw the risks of the absolutism to come. But despite his sympathy for Herzen's humanistic views, Stoppard also gives fair voice to the radicals, so that a balanced picture of the political thought of the era emerges.
Stoppard has acknowledged his debt to Isaiah Berlin's Russian Thinkers in writing The Coast of Utopia. If you are interested in the ideas in The Coast of Utopia or the history of 19th century Russia, Russian Thinkers is well worth reading.
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7 of 8 people found the following review helpful:
3.0 out of 5 stars
Always Stoppard, bur not at his best., February 6, 2007
A sincere admirer of Stoppard's plays (G and R are dead... Arcadia.. in particular), I think this time he went too far and overdid it. Too many words, and too much time for the story he tells and for the matter he is dealing with. He should be forced to restrain everything in a third of the whole. For the rest, everything is all right: characters, dialogue, singles scenes... But the writing is also a bit too naturalistic, too many details, too many indications for the actors: it looks sometimes like a script for a movie. Some English authors seem to become "longer" as they grow older (see also Ayckburn): and this is strange! In my case (I am a playwright too, and three of my plays have been produced in Atlanta and New York) I feel a need for the essential.
Luigi Lunari
and sorry for my somewhat personal English
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15 of 20 people found the following review helpful:
3.0 out of 5 stars
Unexpected disappointment, February 19, 2007
I am pasting here my letter on the topic sent today (Febr, 19, 2007) to "The New York Times" in response to the review of Mr. Stoppard's work by Ben Brantley:
I admire Ben Brantley for his skill of writing a seemingly positive review of Tom Stoppard's "The Coast of Utopia" (Febr. 19) filled with such phrases, unfortunately fully justified, as: "I wouldn't call it a major work of art" or "But as for major insights of philosophical or historical weight, that's not what "Utopia" is about."
First, my background: since seeing Mr. Stoppard's "Arcadia" in London about 10 years ago my wife and I have become great admirers of its author, we have never missed any of his plays until now when, after attending the first two parts of "Utopia", we decided to skip the last part (though we've read it). Also, with our school education in Russia, we understand a thing or two about the history of the Russian political thought.
With this background, it is painful for me to use the word "failure" to describe the last Mr. Stoppard's venture but regretfully I cannot find another word. A noisy long production - everything could be said in just three hours - with more than 60 characters, it exhibits no unity, no central idea and eventually no purpose. There are three major books on the topic written at that time: "The Fathers and the Sons" by a liberal Turgenev, "The Possessed" by a conservative Dostoevsky and "My Past and Thoughts" by a centrist Herzen ("Utopia" is in significant degree is simply a stage version of Herzen's book), and they give a much better idea of what really happened in Russia at that time. Orwell's "1984" may be considered as an important 20th century commentary to the first three books.
Of course, the fall of communism does call for some reconsideration and the new insight. As a man who combines both Eastern European and the Western cultural traditions, Mr. Stoppard was uniquely placed to give us such insight, and we eagerly waited for this his work. What we got instead may be best described by Mr. Brantley's words: "...you could find a snapper, shorter version of the same idea in a fortune cookie."
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