David Edgar

There is little about the charming Hotel Tramontano in Sorrento to indicate quite what inspired Henrik Ibsen to write a play about congenital syphilis while staying there, and not much more (I am assured) in the equally delightful Hotel Luna at Amalfi to evoke the dark midwinter drama of A Doll’s House. The incongruity between the stark Scandinavian gloom of the major plays and the Mediterranean lushness of the places where Ibsen wrote them is a warning against reading the art too readily from the life, and one that Robert Ferguson has not heeded. For him, the life is the only way to support his thesis, which is that the great plays aren’t great at all, and that after Ibsen’s first success, Peer Gynt (written at Casamicciola, Ischia, in 1867), it all went horribly wrong.

Fintan O’Toole’s publishers announce that Richard Brinsley Sheridan has been generally ill-served by biographers, ‘who rehash the familiar outlines of his story every decade or so without bringing any intelligent new insights to the task’. By contrast, O’Toole has written a ‘gripping, carefully composed exploration of Sheridan’s career’. His biography comes hard on the heels of Linda Kelly’s, and it would be comforting to report that O’Toole’s was the rehash, but the Granta puff has it the right way round, while Alan Chedzoy’s life of the first Mrs Sheridan (the noted soprano and beauty Elizabeth Linley) is more boisterously entertaining than either of them.‘

For all its glories, the postwar British theatre has driven an embarrassing number of its brightest stars into exile. Conventional wisdom attributes this to a combination of parsimony and pragmatism. Finding the balance between inadequate subsidy and the need for the box office to make up the shortfall has contributed to a no-nonsense, suck-it-and-see anti-intellectualism. For socialist playwrights like John Arden and Edward Bond, the consequence, in one case, is external and in the other a form of internal exile. But the most noted instance of the prophet rejecting his own country is the director Peter Brook who, having forged a glittering career in the British theatre, from a consummate King Lear to a definitive Midsummer Night’s Dream, decided to up sticks and set up an international company of actors abroad.

The major contribution of the English theatre to last year’s Brecht centenary was Lee Hall’s dazzling version of Mr Puntila and His Man Matti, presented by the Right Size, a touring company led by the comic actors Sean Foley and Hamish McColl. Their prologue goes some way to explaining why the Anglophone response to the Brechtfest was so muted. Announcing that ‘Before we start/this evening’s art/we’d like to take you through a bit of theory,’ Foley and McColl went on to outline the origins of Marxism, the theory of surplus value and the essence of Brechtian dramaturgy in 16 doggerel lines.‘

In the film about Noël Coward that Adam Low made for Arena in 1998, there is a shot of Arnold Wesker watching a recording of a Royal Court fundraising gala in which Coward is marvellous but clearly miserable as the restaurant owner in an extract from Wesker’s The Kitchen. Less emblematic but equally germane is the story, told in Philip Hoare’s 1995 biography, of Coward’s visit to the Court to see David Storey’s grittily realistic Rugby League play The Changing Room. His attention having been drawn to the male genitalia on display in the bath scene, Coward remarked: ‘13 acorns are not worth the price of admission.’‘