With his characteristically brilliant wordplay and extraordinary scope, Tom Stoppard has in Hapgood devised a play that “spins an end-of-the-Cold-War tale of intrigue and betrayal, interspersed with explanations of the quixotic behavior of the electron and the puzzling properties of light” (New York Times). It falls to Hapgood, an extraordinary British intelligence officer, to try to unravel the mystery of who is passing along top-secret scientific discoveries to the Soviets, but as she does so, the web of personal and professional betrayals―doubles and triples and possibly quadruples―continues to multiply.
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anti-particle anyway Athens Betty BLAIR Oh BLAIR Yes bleep briefcase can’t chickenfeed cigarette closes the door Coast of Utopia comes Cubicle darling desk didn’t disc disc-box doesn’t electronic everything fuck Ganchev garage key Georgi give God’s sake goes hand HAPGOOD I know HAPGOOD Into phone Hapgood moves HAPGOOD Oh HAPGOOD On radio Hapgood opens Hapgood takes HAPGOOD Thank HAPGOOD Yes Hapgood’s office he’s Hello Kaliningrad KERNER Oh Konigsberg Leonhard Euler Listen lobby doors ma’am MAGGS Into phone mean Merryweather morning Mother never nice nods o’clock particle Paul Paul Blair Pause percussion cap perhaps Peugeot photographs picks play pool puts the radio red phone Ridley moves Ridley’s Russian SCENE shaving shower sister sorry St Christopher’s Stoppard talk target telephone tell there’s thing thought Tom Stoppard torch touch-line towel tracksuit turned twins upstage walks WATES Wates’s What’s Who’s won’t wouldn’t you’re