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Ian Dickson
Ian Dickson has degrees in drama from Yale and the University of New South Wales, and is the co-author of the musical Better Known As Bee.
In a tastefully designed, beautifully arranged living room, a couple are engaging in the sort of mildly erotic verbal jousting in which long and happily married couples might indulge. They are Martin Gray, a Pritzker Prize-winning architect, just turned fifty, who has been chosen to design a futuristic, two-hundred-billion-dollar World City and his, in his words, bright, resourceful, intrepid wife ... (read more)
Amadeus is English playwright Peter Shaffer’s most resilient work. Antonio Salieri’s battle with both his god and his rival Wolfgang Amadeus Mozart has been frequently performed and revived, with actors of the calibre of Paul Scofield, Ian McKellen, and David Suchet as Salieri, and Simon Callow, Tim Curry, and Michael Sheen as Mozart. It says a lot for the play’s durability that so much of i ... (read more)
After its recent political and financial traumas, your correspondent arrived in London expecting to find a sombre, subdued city. Far from it. The Christmas lights were blazing in the West End, and on the weekends it was almost impossible to move while battling the hordes. But it was noticeable that few people were actually carrying shopping bags, and though the stores were crammed, the actual line ... (read more)
In the annals of theatre history, Lorraine Hansberry’s A Raisin in the Sun (which had its première in 1959, when she was only twenty-eight) will go down as the first Broadway play written by an African-American woman and directed by an African-American man. It would have been beaten a couple of seasons earlier by Alice Childress’s Trouble in Mind if the redoubtable Childress had not refused t ... (read more)
Of the major Anglo-American poets of the previous century, none was more transformed, at least on the surface, by the journey across the Atlantic than Thom Gunn (1929–2004). Travelling in the opposite direction, T.S. Eliot found echoes of his mid-Western emotional repression and discreet anti-Semitism in the England of his era, while W.H. Auden, who carried his world with him, was only mildly af ... (read more)
Antonio Cesti and Giacinto Cicognini’s frisky opera, Orontea, begins with an argument between philosophy and love as to who is the stronger. Love heads off to Egypt to create havoc chez the Egyptian Queen Orontea, but at her steamy court the contest seems to be more between the opposing delights of lust and alcohol. Orontea’s determination to remain a virgin queen dedicated to her subjects qui ... (read more)
Although America produced other alternative filmmakers of his generation like Kenneth Anger and Maya Deren, John Cassavetes (1929–89) would have to be considered the doyen of the movement. Directors as diverse as Martin Scorsese, Jim Jarmusch, Peter Bogdanovich, and Pedro Almodóvar have acknowledged his influence. Technically rough though they may sometimes be, Cassavetes’ films have a raw po ... (read more)
Steven Spielberg obviously relishes challenges. Tackling, at this late stage in his career, his first musical is challenge enough, but directing a remake of one of the most iconic filmed musicals since the talkies arrived might be considered a mixture of chutzpah and lunacy. Luckily, the result is, mostly, a successful mixture of hommage and re-evaluation.
From the opening moments of Spielberg’ ... (read more)
In his program notes, Kip Williams, artistic director of Sydney Theatre Company, talks about the need to ‘wrestle’ Arthur Miller’s great play ‘into the present’. But if ever there was a play that speaks, as the Quakers would say, directly to us in our condition, it is this one. When Miller wrote it, he assumed that the postwar boom would not last and that America would head back into ano ... (read more)