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Tom Kempinski
Tom Kempinski
Tom Kempinski
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Thomas Michael John Kempinski (24 March 1938 – 2 August 2023) was an English playwright and actor[1] best known for his 1980 play Duet for One, which was a major success in London and New York City, and much revived since. Kempinski also wrote the screenplay for the film version of Duet for One.[2] In addition, he made minor appearances on numerous British television shows including Dixon of Dock Green and Z-Cars.

Key Information

Early life and education

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Kempinski's parents, Gerhard and Melanie Kempinski, were restaurateurs and hoteliers who ran the Kempinski hotel in Berlin. They emigrated to London in 1936 as refugees before the Second World War.[3] Kempinski was born in Hendon in 1938 but was evacuated to stay with his paternal grandparents in New York City at the age of 2 to avoid a potential Nazi invasion of England. On return to London, he was educated at Abingdon School from 1951 to 1956.[4][5][3] In 1957, he gained a major scholarship in Modern Languages to Gonville and Caius College, Cambridge, but suffered a breakdown and left after only ten weeks, albeit having time to join Footlights in the meantime.[6][7][3] After Cambridge, he had a brief spell in the Maudsley Hospital in South London.[3]

Acting career

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Kempinski then took up a place at RADA before moving into acting. His first rôle was in The Damned before moving into stage acting with Lionel Bart's Blitz!.[3]

Other stage and film rôles followed, notably in the anti-war play Dingo by Charles Wood and Gumshoe by Stephen Frears.[3]

In May 1968, Kempinski joined the student revolutionaries who occupied Paris's Odéon Theatre as part of "les événements".[3]

Personal life and death

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Some sources state that Kempinski was married to the actress Frances de la Tour, who starred in the original London production for Duet for One,[8] whereas his obituary in The Guardian describes de la Tour as his partner.[3] He was married to the actress Margaret Nolan from 1967 to 1972[9] and to solicitor Sarah Tingay from 1991.[10]

Tom Kempinski died on 2 August 2023, at the age of 85.[3]

Selected filmography (actor)

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See also

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References

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Tom Kempinski

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Tom Kempinski (24 March 1938 – 2 August 2023) was an English and whose work often drew from his personal struggles with depression and . Best known for his 1980 play , which premiered at Theatre and transferred to the West End and Broadway, Kempinski explored themes of and through the story of a violinist confronting ; the production earned an Olivier Award nomination and was adapted into a 1986 film starring and . His follow-up play Separation (1987), a semi-autobiographical examination of marital breakdown and , also moved from to the West End, reflecting his own experiences with breakdowns, , and . Kempinski's acting career included roles in films such as The Damned (1961), (1965) with , and Gumshoe (1971), as well as stage appearances at the and ; over his lifetime, he wrote around 40 plays, though —performed in 42 countries—remained his most enduring success, yielding significant financial returns including £250,000 from film rights. He later overcame severe , losing 12 stone, and married actress in 2007 after prior unions with and a relationship with that produced children.

Early Life and Background

Family Origins and Childhood

Thomas Michael John Kempinski was born on March 24, 1938, in , , to German-Jewish parents Gerhard Kempinski and Melanie (née Rahmer). His parents had emigrated from , where they managed the renowned restaurant and hotel, a family business established in the that was Aryanized—seized and transferred to non-Jewish ownership—by the Nazi regime in the 1930s. Gerhard Kempinski, an occasional before fleeing , later opened a in after the family's relocation to Britain. As the only child of his parents, Kempinski grew up in a household shaped by the disruptions of Jewish emigration and the shadow of European fascism. At the outset of the Second , when Kempinski was two years old, his parents—fearing a Nazi invasion of Britain—arranged for him to be evacuated to to live with his paternal grandparents, who had earlier emigrated to the . This separation from his marked an early dislocation, reflecting the broader wartime anxieties of émigré Jewish families in Britain. He returned to following the war's conclusion in 1945, resuming life with his parents amid the postwar recovery, though specific details of his immediate childhood experiences in the capital remain sparsely documented in available accounts. The family's peripatetic history, rooted in survival amid antisemitic upheaval, informed the themes of displacement and resilience that would later appear in Kempinski's dramatic works.

Education and Formative Influences

Kempinski suffered his first mental breakdown at age 10, after which his mother arranged for him to board at in beginning in 1951. He attended the school until 1956, during which time the institution transitioned from a to a public school. This period marked a significant shift from his family home in , , where his German parents operated a restaurant following their flight from Nazi persecution. In 1957, Kempinski earned a major scholarship to study modern languages at Gonville and Caius College, . His time there proved brief, lasting only one term before a recurrence of difficulties forced his withdrawal. Following this, he pursued formal training in acting at the Royal Academy of Dramatic Art (RADA), which provided the foundational skills for his initial career on stage, film, and television. His father's sporadic involvement in likely served as an early influence on Kempinski's theatrical aspirations, complementing the professional training at RADA and shaping his transition from education to performance. The recurrent breakdowns during his formative years, beginning in childhood, underscored personal challenges that would later inform his dramatic works, though contemporaneous records emphasize the role of institutional support in his development.

Professional Career

Acting Roles and Performances

Kempinski began his acting career with the role of Ted in the These Are the Damned (1962), directed by . He soon transitioned to stage work, appearing in Lionel Bart's musical Blitz! (1962) at the in , which depicted life during and ran for over 400 performances. Among his early theatre credits, Kempinski took on various small parts in Laurence Olivier's National Theatre production of Shakespeare's (1964), including roles as a sailor, senator, , and Cypriot; he reprised similar ensemble roles in the 1965 film adaptation directed by Stuart Burge. A career highlight in theatre came in 1972 when he starred in the title role of Charles Wood's Veteran's Day at the Royal Court Theatre, portraying a grappling with postwar disillusionment in a production noted for its raw intensity. On screen, Kempinski's roles were often supporting or character parts. In Gumshoe (1971), a directed by , he played C.L. Quarry, a interviewing the . He appeared as an in the space adventure (1969), produced by , and had a role in the dramatic thriller The Reckoning (1969), adapted from Barry Reckord's play. Additional film credits include (1970), a comedy in the Doctor series, and Wot! No Art? (1978), a satirical short. Kempinski also worked in television, with guest appearances in British series. He portrayed Tony Blower in episodes of Crown Court (1973), Dr. Stephen Partness in the sci-fi drama Moonbase 3 (1973), and a lieutenant in the comedy Clochemerle (1972); other TV roles included Vincent Metcalfe in the play A.D.A.M. (1973) and a doctor in Plaintiffs and Defendants (1975). These performances, while not lead roles, showcased his versatility in ensemble casts across genres from drama to satire.

Playwriting and Key Works

Kempinski shifted his focus to playwriting in the early 1970s after years as a , film, and television . His works often drew from personal and observed experiences of isolation, , and relational strain, transforming autobiographical elements into intimate dramas. While he penned numerous plays throughout his career, his reputation hinges primarily on two successes from the early 1980s that captured critical and commercial attention amid a broader output of lesser-received pieces. Duet for One, Kempinski's breakthrough, premiered at London's in September 1980 before transferring to the West End's on September 23, 1980. The play centers on , a celebrated violinist confronting , as she undergoes sessions that expose tensions in her marriage to her husband, Mike. Loosely inspired by the life of cellist but rooted in Kempinski's encounters with a friend of his then-wife who faced similar illness, it ran for over 700 performances in the West End and opened on Broadway at the Royale Theatre (later Bernard B. Jacobs) on December 17, 1981, earning praise for its raw emotional depth despite a brief 24-performance New York run. The work was adapted into a 1986 film directed by , featuring as and as Mike, which highlighted its universal themes of loss and resilience. Separation, written concurrently and premiered in the late 1980s, follows a reclusive, phobia-afflicted British , Joe, who forms an intense transatlantic telephone bond with Sarah, a New York producer interested in adapting his sole hit play; their eventual meeting reveals profound disillusionment. Reflecting Kempinski's own struggles with and self-imposed seclusion, the play blends sharp wit with heartbreak, earning descriptions as a "tender" exploration of mismatched expectations and emotional barriers. It received positive notices for its intimate structure and thematic continuity with , though it did not match the earlier play's commercial longevity. Kempinski continued writing into later decades, producing works such as the Neapolitan farce Sex Please, We're Italian, which flopped critically and commercially, underscoring the challenges in replicating his early triumphs amid personal health setbacks that limited his output and public engagement. His plays, often staged in fringe and regional theaters, prioritized psychological realism over spectacle, influencing subsequent British drama on disability and mental fragility, though broader recognition waned after the 1980s.

Personal Struggles and Relationships

Marriages, Family, and Private Life

Kempinski's first marriage was to actress in 1967; the union ended in divorce in 1972. He had no children with Nolan. His second marriage, to actress , produced a daughter and a son before ending in divorce around 1982. Kempinski maintained a low public profile regarding his relationships, with limited details emerging beyond these facts in contemporary accounts. In 2007, Kempinski married media lawyer Sarah Tingay, with whom he had a daughter; Tingay survived him following his death in 2023. The couple resided together until his passing, and he was survived by Tingay and his three children from prior relationships.

Health Issues and Their Impact on Work

Kempinski experienced severe agoraphobia and depression for approximately 15 years, during which he became significantly overweight, reaching 24 stone (152 kg). These conditions manifested as a profound fear of leaving his home, contributing to social isolation and emotional distress that he later described in interviews as a "survival mode." The and depression markedly curtailed his professional output, with Kempinski producing little new work during this extended period, as the disorders limited his ability to engage in collaborative theater activities or public life essential for playwriting and acting. Despite this, he channeled his personal struggles into his writing, allowing themes of psychological isolation and mental fragility to permeate his most successful plays, such as (1980) and Lifeline (1987), which drew indirectly from his experiences rather than clinical conditions like . Recovery from these issues in the late 1990s enabled a partial resurgence in his career, though his productivity remained inconsistent compared to his earlier successes, with later works receiving limited attention amid ongoing personal challenges. No major physical illnesses were publicly documented as affecting his work, and his death on August 2, 2023, at age 85 was attributed to undisclosed causes without reference to prior health complications exacerbating his output.

Death and Posthumous Assessment

Final Years and Passing

In his later years, Kempinski continued to grapple with the effects of and depression, conditions that had long influenced his personal life and creative output, though he reported overcoming a severe by 1996 and losing 12 stone in weight. He entered a relationship with Sarah Tingay in 1989, marrying her in 2007; the couple had a , . Kempinski resided in a flat in , , from 1982 onward, prioritizing proximity to his children from his earlier marriage to amid custody arrangements. Despite producing a total of 40 plays over his career, none achieved the acclaim of his earlier successes like Duet for One (1980), and his output remained modest in impact during this period. Revivals of his works persisted, including Duet for One at the Orange Tree Theatre in Richmond in early 2023 and Separation (1987) at the Bolton Octagon in 2014. His first wife, actress Margaret Nolan, predeceased him in 2020. Kempinski died on 2 August 2023 at the age of 85, with the cause undisclosed. He was survived by his wife Sarah Tingay, daughter , sons Josh and Tamasin from his marriage to de la Tour, and four grandchildren.

Legacy, Reception, and Critical Evaluation

Kempinski's play (1980), his most enduring work, received widespread acclaim upon its premiere at the Bush Theatre in , earning the London Drama Critics' Circle Award for Best New Play of the year. The production, starring as the protagonist—a renowned violinist confronting —also garnered acting accolades for de la Tour, including Olivier and Evening Standard Awards, highlighting the play's emotional intensity and dialogue-driven structure. Subsequent transfers to the West End and Broadway in 1981 and 1983, respectively, sustained its positive reception, with New York Times critics noting its evolution from fringe origins to mainstream success while praising its exploration of denial and resilience. The 1986 film adaptation, directed by and starring and , extended the play's reach but elicited mixed responses; awarded it three stars, commending its portrayal of a "soul that still sings" amid physical decline, though he identified structural flaws in the screenplay's pacing. Revivals, such as the 2009 Almeida production and the 2023 Orange Tree staging, have reaffirmed its relevance, with Guardian reviewers describing it as a "combative probe" into psychological confrontation and a "haunting enticement" for confronting . Critics have consistently valued Kempinski's unsparing depiction of disability's psychological toll, drawn partly from his own experiences with depression and , though some, like those in British Theatre Guide analyses, observed inconsistencies in character dynamics akin to an erratic "tennis match." Kempinski's broader oeuvre, including (1987) and Life on a Definite Slope (1996), received more muted attention, with limited commercial runs and fewer critical endorsements compared to , underscoring his legacy as a specialist in intimate, dramas rather than a prolific innovator. His influence persists in theatre's treatment of chronic illness and , influencing works that prioritize raw interpersonal therapy sessions over spectacle, as evidenced by ongoing productions of in regional venues like and Scarborough. Posthumously, following his death on August 2, 2023, obituaries in and emphasized his personal vulnerabilities as a catalyst for authentic writing, positioning him as a niche figure whose candor about and resonated without achieving widespread theatrical dominance. This evaluation reflects a career marked by one breakout success amid personal adversity, with critical appreciation centered on psychological realism over stylistic experimentation.

References

  1. https://www.theguardian.com/stage/2023/aug/21/tom-kempinski-obituary
  2. https://www.thejc.com/news/obituary-tom-kempinski-cu2yx6m1
  3. https://www.telegraph.co.uk/obituaries/2023/09/06/tom-kempinski-playwright-duet-for-one-died-obituary/
  4. https://www.thetimes.com/uk/obituaries/article/tom-kempinski-obituary-nlqpst0zn
  5. https://www.thestage.co.uk/obituaries--archive/obituaries/tom-kempinski
  6. https://www.thetimes.com/culture/theatre-dance/article/tom-kempinski-you-fear-you-will-go-berserk-and-murder-everyone-g2n6sx6w2
  7. https://www.encyclopedia.com/arts/educational-magazines/kempinski-tom-1938
  8. https://www.imdb.com/name/nm0447461/
  9. https://www.rottentomatoes.com/celebrity/tom-kempinski
  10. https://watch.plex.tv/person/tom-kempinski
  11. https://theatricalia.com/play/57k/duet-for-one/production/pg7
  12. https://www.ibdb.com/broadway-production/duet-for-one-4151
  13. https://backalleytheatre.org/duet-for-one/
  14. https://www.imdb.com/title/tt0092934/
  15. https://www.nytimes.com/1992/01/19/nyregion/theater-separation-a-tale-of-trans-atlantic-calls.html
  16. https://www.concordtheatricals.com/p/5303/separation
  17. https://www.imdb.com/name/nm0447461/bio/
  18. https://www.englishtheatre.at/archiv/deutsch/archiv/saison-200809/duet-for-one/author.html
  19. https://knowledgebank.org.nz/wp-content/uploads/node/553154/master/2019Anon2869-2_DuetForOne.pdf
  20. https://www.nytimes.com/1983/04/29/theater/theater-duet-for-one.html
  21. https://www.rogerebert.com/reviews/duet-for-one-1987
  22. https://www.theguardian.com/stage/2023/feb/17/duet-for-one-review-orange-tree-theatre-london
  23. https://www.theguardian.com/stage/2009/jan/30/review-almeida-duet-for-one
  24. https://www.britishtheatreguide.info/reviews/duetforoneBA-rev
  25. https://stagetalkmagazine.com/p/18634
  26. https://www.whatsonstage.com/news/duet-for-one-scarborough_2003/
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