He will be missed.
“When people discuss his plays, he says that he feels like he’s standing at customs watching an official ransack his luggage. He cheerfully declares responsibility for a play about two people, and suddenly the officer is finding all manner of exotic contraband like the nature of God and identity, and while he can’t deny that they’re there, he can’t for the life of him remember putting them there. In the end, a play is not the product of an idea; an idea is the product of a play.”
― Tom Stoppard, Rosencrantz and Guildenstern Are Dead
One of my favorites.
While i admire his work, i have to admit i assumed he had already died years ago. 
He wrote another Tony-award winning play - Leopoldstadt - just 3 years ago. Still at the top of his game pretty much until the end.
His play Dogg’s Hamlet was the first play I ever directed, a long, long, loooong time ago. We shall not see his like again.
I read Rosencrantz etc in high school at a time I was fascinated with Hamlet, and have seen the movie, but otherwise just know him from movie adaptations (including Rosenkrantz). But I like R&G a lot. [I also survived the AP English exam because one of the questions was about works that reference other works, and that was the only one that came to mind]
I saw one of his lesser known plays, Hapgood, during its premiere run in London. Starred Nigel Hawthorne, Roger Rees, and Felicity Kendal.
I remember seeing Dirty Linen and New Found Land in the 1970s.
Stoppard was responsible for much of the Brazil screenplay (though there are disputes; co-writer Terry Gilliam reportedly tried to deny the contributions of a third writer, Charles Alverson).
I got to see Arcadia in Ashland in 1996 during a high school field trip with the theater club. Such an amazing play.
When I was in college I saw a student production of The Real Inspector Hound. This obscure play requires only one set and maybe a half dozen characters so it’s a favorite of colleges. For those who have never seen it I’ll spoiler it.
The second act repeats the dialog from the first act word for word. But different characters say the lines and that totally changes their meaning.
More than 50 years later I still consider it the most remarkable technical achievement in writing I’ve ever encountered.
I’ve tried to catch every play of his I could attend for decades. He may be the greatest playwright of his time. I can boast that I own a biography of him that was autographed by Stoppard.
I had no idea who he was, but now I’m seeing he wrote “Rosencrantz and Guildenstern Are Dead”. Holy crap. RIP, what an amazing writer.
It’s said that one of Stoppard’s wrier lines left Gilliam puzzled:
Sam: Give my best to Alison and the twins.
Jack: Triplets.
Sam: Triplets? God, how time flies.
I’m not very familiar with most of Stoppard’s work, but I LOVE The Real Inspector Hound.
“It’s for you…”
During our honeymoon in London, we saw a production of Jumpers with Paul Eddington as George and Felicity Kendal as Dorothy. One of my favorite memories from that trip.
And Shakespeare in Love is an amazing movie.
Hey!! I watched this a few years ago on YouTube, an amateur production that wandered into my timeline, and I didn’t even realize it was Stoppard. What a great play, and I’ll bet fun as hell to put on.
I took a friend to see “The Real Inspector Hound” He thought it was a real whodunnit, and immediately started looking for clues, something like: the radio announcer said that the escaped killer was an electrical genius, then the maid had trouble getting the vacuum to work, and my friend thought that was a MAJOR clue! I had seen the play before, so I knew the “clues” weren’t going to help, but it was entertaining to ME to watch my friend collecting “clues”.
Doesn’t speak very well for Gilliam! (I mean, it’s clever in its unexpectedness, but scarcely baffling.)