Brian Cox Recalls Tom Stoppard's Vision for 'Rock'n'Roll': A Masterclass in Clear Ideas and Elegance
In 2006, when I landed the role of Max in Tom Stoppard's Rock'n'Roll at the Royal Court, I had been a fan of his work for years. Having seen Rosencrantz and Guildenstern Are Dead on its UK premiere in London in 1967, starring Graham Crowden as the Player King, I was well aware of his unique voice and style. The Real Thing and Arcadia were also notable examples of his skill as a playwright.
Rock'n'Roll, directed by Trevor Nunn, was set against the backdrop of the Czech Republic's tumultuous 1968, with two contrasting plays exploring Sappho and the Soviet takeover. As Max, I portrayed a Marxist academic, while Rufus Sewell played Jan, a Czech student who returns to Prague.
Stoppard's vision in Rock'n'Roll was clear: a commentary on his views on politics, society, and art. He drew inspiration from real-life figures, such as the Plastic People of the Universe, a psychedelic band banned by the communist government, despite their lack of overt political intent. This theme resonated with me when I visited Russia in the 1980s to work with students at the Moscow Art Theatre School, where I encountered Ravil Isyanov, an actor mistakenly identified as a KGB agent due to his passion for The Beatles.
The first night of Rock'n'Roll was memorable, with Václav Havel, Timothy Garton Ash, and Dave Gilmour of Pink Floyd in attendance. As the curtain opened, I caught sight of Mick Jagger being fed spoonfuls by his girlfriend – an image that stuck in my mind. Despite the complexities of its subject matter, Rock'n'Roll struck a chord with audiences both in London and New York.
Stoppard's approach to writing was characterized by clear purpose and ideas, which often came at the expense of character development. This was evident in my portrayal of Max, who was based on Eric Hobsbawm but served more as an idea than a fully fleshed-out person. When I questioned Stoppard about this, he simply replied that "you are" – his answer reflecting his conviction in the power of clear and focused thinking.
One anecdote from my time working with Stoppard remains etched in memory: when we parked near the Royal Court Theatre, where Rock'n'Roll was playing. We spotted him sitting alone in his car, waiting for a meter to reach 12 pm so he could proceed. When we knocked on the door and asked if he was okay, he responded that it was all about "elegance." This attitude exemplified his dedication to picking one's moments wisely – a hallmark of elegance, both as an artist and in everyday life.
Tom Stoppard's legacy is a testament to his unwavering commitment to art, politics, and social commentary. His vision for Rock'n'Roll may have seemed unconventional at the time, but it has since proven itself to be nothing short of remarkable – a true masterclass in clear ideas and elegance.
In 2006, when I landed the role of Max in Tom Stoppard's Rock'n'Roll at the Royal Court, I had been a fan of his work for years. Having seen Rosencrantz and Guildenstern Are Dead on its UK premiere in London in 1967, starring Graham Crowden as the Player King, I was well aware of his unique voice and style. The Real Thing and Arcadia were also notable examples of his skill as a playwright.
Rock'n'Roll, directed by Trevor Nunn, was set against the backdrop of the Czech Republic's tumultuous 1968, with two contrasting plays exploring Sappho and the Soviet takeover. As Max, I portrayed a Marxist academic, while Rufus Sewell played Jan, a Czech student who returns to Prague.
Stoppard's vision in Rock'n'Roll was clear: a commentary on his views on politics, society, and art. He drew inspiration from real-life figures, such as the Plastic People of the Universe, a psychedelic band banned by the communist government, despite their lack of overt political intent. This theme resonated with me when I visited Russia in the 1980s to work with students at the Moscow Art Theatre School, where I encountered Ravil Isyanov, an actor mistakenly identified as a KGB agent due to his passion for The Beatles.
The first night of Rock'n'Roll was memorable, with Václav Havel, Timothy Garton Ash, and Dave Gilmour of Pink Floyd in attendance. As the curtain opened, I caught sight of Mick Jagger being fed spoonfuls by his girlfriend – an image that stuck in my mind. Despite the complexities of its subject matter, Rock'n'Roll struck a chord with audiences both in London and New York.
Stoppard's approach to writing was characterized by clear purpose and ideas, which often came at the expense of character development. This was evident in my portrayal of Max, who was based on Eric Hobsbawm but served more as an idea than a fully fleshed-out person. When I questioned Stoppard about this, he simply replied that "you are" – his answer reflecting his conviction in the power of clear and focused thinking.
One anecdote from my time working with Stoppard remains etched in memory: when we parked near the Royal Court Theatre, where Rock'n'Roll was playing. We spotted him sitting alone in his car, waiting for a meter to reach 12 pm so he could proceed. When we knocked on the door and asked if he was okay, he responded that it was all about "elegance." This attitude exemplified his dedication to picking one's moments wisely – a hallmark of elegance, both as an artist and in everyday life.
Tom Stoppard's legacy is a testament to his unwavering commitment to art, politics, and social commentary. His vision for Rock'n'Roll may have seemed unconventional at the time, but it has since proven itself to be nothing short of remarkable – a true masterclass in clear ideas and elegance.
I think what's really interesting about Tom Stoppard's work is how he could balance making big statements with still being able to make you feel all the feels. Like, his writing isn't always straightforward but it's never hard to follow - that 'elegance' thing he's all about is actually pretty inspiring 
. And that anecdote about Stoppard waiting for the meter to reach 12 pm is actually pretty inspiring – who wouldn't want to be elegant and pick their moments wisely? 
just read about Brian Cox's experience working with Tom Stoppard on Rock'n'Roll 
. it's like, the ultimate lesson in embracing simplicity & intentionality in our creative pursuits 
. and that story about him waiting for a meter to reach 12 pm? so beautifully elegant 
. Stoppard's legacy is truly inspiring – his commitment to art & social commentary is something we can all learn from 
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anyway, I think what really stands out is how Stoppard's dedication to elegance in everything he does is so inspiring 
. So, what's got people riled up about Tom Stoppard's Rock'n'Roll? Some might say it's too cerebral or that Stoppard prioritized ideology over character development. But, honestly, I think it's genius 
. The way he tackled complex themes like politics and art with clear purpose is something to aspire to. And let's not forget his dedication to elegance – whether it's in his writing or everyday life 
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I remember watching Rosencrantz and Guildenstern Are Dead back in '67 and just being blown away by that unique voice. And then Rock'n'Roll comes along, set during the Czech Revolution, with Brian Cox playing a Marxist academic... it's like he took all these different ideas and just made them work! 
But you can't deny the impact of that play. I mean, it's been years since I've seen something so thought-provoking and beautifully written.
what was it about? is it good? 
i don't really get this tom stoppard guy but he seems nice 
so yeah rocknroll sounds interesting maybe i'll watch it next 
It's clear that Stoppard had some deep thoughts about politics, society, and art, and he didn't hold back when it came to sharing them. #TomStoppard #RocknRoll #ArtisticVision
It's awesome that his play was able to strike a chord with audiences, even if it was complex at times. #DramaLovers #ClearIdeasMatter
i mean, the way he wove together politics and art is just so ahead of its time his writing style may not have been for everyone but it's clear that he knew what he wanted and wasn't afraid to go all in with his ideas 
i mean, who wouldn't want to hear about the plastic people of the universe and the beatles being mistaken for spies lol
Like, who needs character development when you can have a clear purpose, right? 
But seriously, it's dope to see how Stoppard's vision for Rock'n'Roll has stood the test of time. That play was ahead of its time, and it's cool to see Brian Cox reflecting on those experiences 
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anyway, what really stood out to me was how Stoppard kept it real with his art. like, he didn't shy away from tackling tough topics like politics and society. and that's something we can all learn from, imo 
plus, have you ever seen the movie adaptation of Rosencrantz and Guildenstern Are Dead?