He said the other lasting memory is in the “brutal and unforgiving” play “Endgame,” in which John Turturro plays Hamm in a wheelchair, as Max Casella.
One night, he remembered, the wheelchair collapsed, causing Turturro to fly through the air. “He never broke his character, even when the stagehands came to pick him up and the wheelchair off the floor,” Hopkins said. “The audience went crazy that night.”
‘Einstein on the Beach’
When Lichtenstein took over the Academy in 1967, he discovered the work of the American director Robert Wilson, who made a name for himself in Europe. “Harvey loved Robert Wilson in his most avant-garde heart and was on a divine mission to get Bob’s large-scale work to be seen in the United States,” Hopkins said. “For early tracks like ‘Deafman Glance,’ there was hardly anyone in the audience,” he said. Or they would go home, do the laundry, come back; the tracks went on for hours!”
In 1984, Lichtenstein told his team that they needed to raise $300,000 to present a collaboration Wilson had with composer Philip Glass called “Einstein on the Beach.” Hopkins agreed. “I don’t know how, but we will,” he said.
“Einstein” was a success. “After that, the legend grew and grew,” he said; The show returned to the Academy in 1992 and in 2012. “Bob works traditionally theatrical and not very stylized, but completely inside out,” Hopkins said. “But it comes from the gut, and although the pieces look cold, it isn’t. The heat comes from the surrounding ice; this is an artistic trip.”
He added that he particularly liked the 2014 adaptation of Soviet writer Daniil Kharms. “Old woman” With Mikhail Baryshnikov and Willem Dafoe. “It was devastating for someone to starve, and you felt it,” he said.