Ian Dickson

Ian Dickson reviews 'Orlando' (Sydney Theatre Company)

Ian Dickson
17 November 2015

Virginia Woolf's early impression of the aristocratic, free-loving woman of letters Vita Sackville-West was not exactly complimentary: 'Not much to my severer taste – florid, moustached, parakeet coloured, with all the supple ease of the aristocracy, but not the wit of the artist.' Her opinion soon changed, however, and she found herself falling in love with the p ... More

Arts Highlights of the Year

Robyn Archer et al.
26 October 2015

To highlight Australian Book Review's arts coverage and to celebrate some of the year's memorable concerts, operas, films, ballets, plays, and exhibitions, we invited a group of critics and arts professionals to nominate their favourites – and to nominate one production they are looking forward to in 2016. (We indicate which works were reviewed in Arts Up ... More

Letter from Milan

Ian Dickson
21 October 2015

Spurred on by Expo Milan, La Scala is having a busy couple of months. Entitled Feeding the Planet, Energy for Life, the Expo is supposed to stimulate ideas for sustainable nutrition in a world with a rapidly expanding population and an equally rapidly diminishing arable area. However, the report from those who have braved the enormous crowds and endless que ... More

Ian Dickson reviews 'Master Class' (Left Bauer Productions)

Ian Dickson
13 August 2015

Cunningly promoted by her recording company, EMI, the Callas myth took off after her death on 16 September 1977 and continues to resonate to this day. Undeterred by Franco Zeffirelli’s excruciating screen homage to the diva, Callas Forever (2002), Callas projects starring Meryl Streep and Noomi Rapace have been announced.

Like most my ... More

The Present (Sydney Theatre Company)

Ian Dickson
10 August 2015

In 1881, armed with the confidence of youth, the twenty-one-year-old Anton Pavlovich Chekhov fronted up to the Maly Theatre in Moscow, at that time one of the foremost theatres in the world, in order to present its leading actress, Maria Yermolova, with a copy of his recently written and probably first play. The great lady promptly returned the manuscript, whi ... More

Mother Courage and Her Children (Belvoir St Theatre)

Ian Dickson
15 June 2015

As our government prepares to increase our involvement in a Middle Eastern disaster we should never have taken part in, Brecht’s Mother Courage and Her Children seems more pertinent than ever.

The theatre of Bertolt Brecht has always pr ... More

Ian Dickson reviews 'Endgame'

Ian Dickson
10 April 2015

The fact that two of Australia’s major theatre companies are performing Endgame concurrently is, one hopes, merely a coincidence and not a reflection on the national Zeitgeist, for the play is one of the bleakest works in Samuel Beckett’s not exactly sunny canon. If Vladimir and Estragon in Waiting for Godot cling desperately to some hope, their co ... More

Ian Dickson reviews 'Tennessee Williams' bu John Lahr

Ian Dickson
25 November 2014

For a man who has repeatedly been described as America’s greatest playwright, Tennessee Williams’s reputation has fluctuated as wildly as his notorious mood swings. In the decade after the war he was celebrated. ‘Mr. Williams is the man of our time who comes closest to hurling the actual blood and bone of life onto the stage,’ wrote Walter Kerr of the first ... More

Miracle City

Ian Dickson
27 October 2014

As I sat through the standing ovation that greeted the performance of the Nick Enright/Max Lambert musical Miracle City that I attended, I wondered why it is that some productions seem to get a free ride. Few regular theatre-goers would disagree with the contention that we are at present in Australia living through a golden age of acting talent. The huge boos ... More

Children of the Sun

Ian Dickson
15 September 2014

By now we know what to expect from an Andrew Upton adaptation of a Russian play – brisk, overlapping dialogue with anachronistic turns of phrase and use of four-letter words. With the Sydney Theatre Company’s Uncle Vanya (2010), this approach, in combination with Támas Ascher’s brilliant production, worked superbly to blow away the miasma of gloom and ... More

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