Ian Dickson

Hedda Gabler (1890) occupies a somewhat schizophrenic position in Henrik Ibsen’s work. On the one hand, it is normally seen as the apotheosis of Ibsen’s realist period, his sardonic homage to the fashionable ‘well-made play’ of the time. But, on the other hand, from early in its theatrical life there have been productions which have reacted against the naturalistic style in which the play seems to have been couched.

In the heyday of Manhattan hotels, the Chelsea Hotel had its own special niche. The Pierre exuded wealth and exclusivity, the Plaza a sort of bourgeois glamour as the place where the bridge and tunnel crowd would throw caution to the wind and rent a corner suite for big occasions, and the Algonquin, with its round table and Hamlet the cat, radiated intellectual chic. The Chelsea had a sleazy, dangerous style, a place where almost anything went, where famous edgy artists got up to no good. It is no surprise that when, on a hot summer night in 1953, Gore Vidal and Jack Kerouac decided that they owed it to literary history to have it off, they chose the Chelsea for the momentous coupling. Even in late 1970s Manhattan, among a certain group to have sex at the Chelsea was considered almost a rite of passage.

Hobart is the ideal place in which to have a festival. Big enough to have other attractions but small enough so that the festival becomes a major event rather than just another diversion. A walk through Battery Point, followed by a long lunch at Salamanca Place with congenial fellow festival goers, or a trip out to MONA to wander through the psyche of David Walsh are exceptional ways to spend the day before the next performance.

How does one get a handle on a phenomenon like Leonard Bernstein? The whirling dervish of the podium was also a brilliant pianist and a composer who wrote for both Broadway and the concert hall, although it is interesting that his most performed orchestral pieces, the overture to Candide and the Symphonic Dances from West Side Story, are both from his Broadway life. He was a great proselytiser for classical music, as one can still see in his Omnibus appearances and his Young People’s Concerts, and a strong advocate for American composers, but he was also a ruthless self-promoter, as some of his erstwhile friends and mentors found to their cost. A mostly happily married man and loving father, he was also a wildly promiscuous, mostly gay, Lothario.

With aching feet, bursting bladders, and the odd carrot for sustenance, Samuel Beckett’s famous pair of tramps have shuffled on to the stage of the Sydney Theatre for an extended run, though run is hardly the apposite word for this stationary duo. Perhaps one could call it an extended slump.