The supposed Jacqueline du Pré connection was eventually rejected by the playwright himself. Tom Kempinski explained that Duet for One was not a disguised biography but a cathartic expression of his own anxieties and depression. The play’s emotional violence—Stephanie’s rage at losing her instrument, her estrangement from her husband and pupil, her suicidal overdose, and her desperate demand to be left alone—came from Kempinski’s personal psychological concerns rather than from inside knowledge of the du Pré-Barenboim marriage. The misconception became part of the work’s mythology because the real-life medical tragedy offered such an obvious framework, but Kempinski’s account places the drama firmly in the territory of psychological fiction. The original production featured Frances de la Tour and David de Keyser, and its success led to a Broadway staging with Anne Bancroft and Max von Sydow in 1981, while the later 1986 film starred Julie Andrews as Stephanie Anderson.
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