A prolific performer across stage, screen and TV, the actor starred in Legend, Clue and It, but will always be associated with the flamboyantly camp rock’n’roll musical in which he made his breakthrough

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Tim Curry, the versatile performer of screen and stage, who made his name as the flamboyant Dr Frank-N-Furter in The Rocky Horror Show, has died aged 80. Reports say Curry died at his home in Los Angeles.

The actor’s manager confirmed to Variety that he died peacefully. No cause of death is known as yet.

Seventy years after CP Snow warned of estrangement between the sciences and arts, breadth in education should be encouraged

After the playwright Tom Stoppard died last year, one of the most striking tributes to his work came from a clinical scientist. Michael Baum explained in the British Medical Journal how, in the interval of a 1993 performance of Arcadia, he experienced an epiphany. Thomasina Coverly’s attempt to plot the equation for a rose prompted him to realise that chaos theory was the best way to explain breast cancer’s pattern of recurrence. It was, he wrote, “the bond that links the arts and the sciences as one enterprise rather than the contents of two silos”.

Mr Baum was not the first person to celebrate the bridging of this gap. CP Snow famously criticised the incuriosity of “literary intellectuals” about technology in his essay The Two Cultures (later turned into a lecture and a book). Whether or not this was justified at the time, many literary intellectuals besides Stoppard have since taken a close interest in science; Richard Holmes’s latest book, about the influence of evolutionary theory on Tennyson, is just one example. But the split between the humanities and sciences remains pronounced, and will be evident when this year’s A-level results are released on Thursday.

New name recognises the playwright’s huge impact on British theatre with producer Sonia Friedman saying he would be ‘tickled pink’

The Duke of York’s theatre in the West End is to become the Tom Stoppard theatre in honour of the playwright who died in November.

The theatre is currently presenting Carrie Cracknell’s revival of Stoppard’s 1993 masterpiece Arcadia and the same play was produced there in 2009. The playwright’s wife, Sabrina Guinness, said: “Tom was in his element whenever he had a play on in the West End, so I am thrilled to bits that this theatre will be named after him. It means that his memory will live on, not just through his plays, but also through this building.”

The writer’s former partner and her co-star Ruby Ashbourne Serkis describe the bittersweet nature of remounting his 90s play so soon after his death

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I won’t, I promise, refer to Felicity Kendal as Tom Stoppard’s muse. “No,” she says firmly. “Not this week.” Speaking to Stoppard’s former partner and longtime leading lady is delicate in the immediate aftermath of the writer’s death. But she is previewing a revival of his Indian Ink, so he shimmers through the conversation. The way Kendal refers to Stoppard in the present tense tells its own poignant story.

Settling into a squishy brown sofa at Hampstead theatre, Kendal describes revisiting the 1995 work, developed from a 1991 radio play. “It’s a play that I always thought I’d like to go back to.” Previously starring as Flora Crewe, a provocative British poet visiting 1930s India, she now plays Eleanor Swan, Flora’s sister. We meet Eleanor in the 1980s, fending off an intrusive biographer but uncovering her sister’s rapt and nuanced relationships in India.

The actor, who starred as a Marxist academic in the acclaimed 2006 play at the Royal Court, remembers an astonishing writer of ideas and elegance

By the time I was cast in Rock’n’Roll in 2006 I had been following Tom for years. I saw Rosencrantz and Guildenstern Are Dead when it came to London in 1967 with the wonderful Graham Crowden as the Player King. It was a big sensation. The Real Thing was a great play and Arcadia was extraordinary.

Rock’n’Roll was at the Royal Court in London, directed by Trevor Nunn, and starred Rufus Sewell as Jan, a Czech student who returns to Prague in 1968. I played Max, a Marxist academic. It was a fascinating experience, because there were two plays there: the play about Sappho, the Ancient Greek poet, and the play about the Soviet takeover in Czechoslovakia.

Carrie Cracknell, Nina Raine and Belarus Free Theatre’s Natalia Kaliada and Nicolai Khalezin share memories of working with the playwright and ‘guardian angel’

Natalia Kaliada and Nicolai Khalezin, co-founding artistic directors of Belarus Free Theatre

The director worked with theatre colossus Tom Stoppard on two smash hits. Here, he remembers their heated rehearsals, the night they stayed up watching Jaws – and the last four cigarettes they smoked together

Tom was my hero from the night I first saw Travesties in 1979. I was 15. The older kids at school did a production of it and I was spellbound; it was glamorous, sensual and completely incomprehensible. I wanted to know everything about this cool, obscure playwright. I started in the school library with the Encyclopedia Britannica. Then I read Rosencrantz and Guildenstern are Dead (incomprehensible) and then I read a third of Jumpers before giving up (totally incomprehensible).

As an English Lit student in the mid 1980s, I studied Stoppard and found his work slightly less incomprehensible. But in 1993, I saw the original production of Arcadia and felt that same spell I’d felt as a child. Let’s call it art. And beauty. And words spoken from a stage like no one else. A couple of years later, my first play, Dealer’s Choice, had just opened at the National Theatre and Tom was on the board. Someone told me: “Stoppard saw your play and mentioned it in some speech to donors as a good example of new writing at the NT.” A week or so later, I met him at a drinks do. He approached me. He approached me. All hair and suit and cigs and warmth. He gave me a hug and told me I was a proper young playwright.

A theatrical sensation since the 1960s, whose dramas included Arcadia, The Real Thing and Leopoldstadt, Stoppard also had huge success as a screenwriter

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The playwright Tom Stoppard, whose playful erudition dazzled the theatregoing world for decades, has died aged 88.

On Saturday, United Agents said Stoppard died at home in Dorset, surrounded by his family. They paid tribute to the “brilliance and humanity” of his work and “his wit, his irreverence, his generosity of spirit and his profound love of the English language”.