Andrew Fuhrmann
Andrew Fuhrmann reviews books and theatre. He is currently dance critic for the Age newspaper.
How curious that British playwright Mike Bartlett’s dark comedy inspired by American whistle-blower Edward Snowden’s escape to Russia after leaking thousands of top-secret NSA documents should open with a joke brazenly filched from The Importance of Being Earnest. The larceny, of course, is unconcealed; one assumes that Bartlett is just letting us know the sort of show we’re in for.
Yes, Wi ... (read more)
Estragon: And if we dropped him? [Pause.] If we dropped him?Vladimir: He’d punish us. [Silence. He looks at the tree.] Everything’s dead but the tree.
The original French version of Waiting for Godot was written in Paris between October 1948 and January 1949. This was a time of mass migration in Europe, when a flood of displaced humanity washed across the continent. It was a time of refugees, ... (read more)
In the late 1950s, when he was a fellow at the Princeton Institute for Advanced Learning, George Steiner overheard the legendary J. Robert Oppenheimer, at that time head of the Institute, dressing down a young physicist outside his door: ‘You are so young,’ boomed the father of the atomic bomb, ‘and you have already done so little!’ The story appears most recently in A Long Saturday, a ... (read more)
It’s a provocative idea: disability as superpower. Can we imagine Joseph Merrick, the Elephant Man, as some sort mutant hero whose disfigurement is a gift? This is what the latest Malthouse production seems to be suggesting in its variation on the true story of a man with severe deformities who became a minor celebrity in Victorian England. And what does this superpower consist of? Why, simply t ... (read more)
This is Macbeth reimagined as a supernatural-themed action movie for the stage, a high-speed entertainment with explosions and gunplay and plenty of special effects. Macbeth and his fellow Scots scamper about in fatigues, flak jackets, and modern full-dress uniforms, accompanied by relentless blaring music. Battles are waged in the foyers of derelict office towers. Prisoners are tortured according ... (read more)
A persistent fascination attaches to those who help break the new wood, and so it is with Bernard Smith (1916–2011). His contribution is foundational to the study of the arts in Australia. Smith was for more than sixty years the country’s leading art historian, but he was also an educator, curator, newspaper critic, collector, memoirist, and biographer. Even as an artist his work has acquired ... (read more)
There is something more than a little ersatz about Three Little Words, the latest play by Joanna Murray-Smith. It has all the usual parts, but it doesn’t feel like a real play.
It opens – you’ll never guess – in a suburban living room. Tess and Curtis (Catherine McClements and Peter Houghton), a convivial middle-aged couple, are celebrating their twentieth wedding anniversary. To celebrat ... (read more)
Is it surprising that Jeff Sparrow should write a book on Paul Robeson, the great American singer who was also a civil rights activist, a man of the left, and the most celebrated Othello of the twentieth century? Sparrow is a broadcaster and columnist, but he is also the immediate past editor of Overland, a literary journal dedicated to a mixed diet of – as Billy Bragg might say – pop and prog ... (read more)
What a mysterious and delightful play is American playwright Annie Baker’s John (2015), a meditative comic drama full of exquisite detail and suggested psychological insights. Sarah Goodes directs with sensitivity and imagination for the Melbourne Theatre Company, in the Fairfax Studio, and the fine cast, led by Helen Morse and Melita Jurišić, perform it with much grace and expert comic timing ... (read more)