Marta Dusseldorp and Ben Winspear: the thespians who want to reboot Tasmania

), which has received funding from Screen Tasmania.

But they’re not about to pander to mainstream tastes. For their first major stage production in Hobart they chose Melbourne playwright Angus Cerini’s award-winning, a brutal and darkly humorous tale about a rural mother and her two daughters who, after years of abuse and violence from the “man of the house”, snap savagely and without remorse.

What’s the best thing that’s happened since they moved down? “The pandemic!” Dusseldorp cries out, and bursts out laughing, setting us all off. The laughter is a complicated mix of elation, sadness, relief and frustration. COVID-19 is a contrary force that has inordinately affected the always precarious arts sector.

Dusseldorp found herself sitting next to Wilkie on a flight to Sydney in June 2018. Wilkie had his noise-cancelling headphones on. Dusseldorp tapped him on the shoulder.She told him that she had moved to Hobart. Great, he said, as he began to put his headphones back on. “And I was like, ‘So, tell me, what do you think is important down in Tasmania, how can I help?’ ” Dusseldorp says. Wilkie’s headphones remained off for the rest of the flight.

I ask Wilkie, how realistic are Dusseldorp’s and Winspear’s aims? Could Tasmania really become “the most exciting corner of the country” – or, to use his word, an “incubator” for the creative arts? When Hobart architect Peta Heffernan met Dusseldorp and Winspear at the Tasmanian Theatre Awards in 2017 and learnt that they were moving down from Sydney, she asked whether they’d be interested in joining the board of, a non-profit, voluntary organisation whose mission is to help elevate Tasmania as “a cultural and creative powerhouse”. Heffernan runs Liminal Studio with her partner Elvio Brianese.

Dusseldorp is the second oldest of five siblings. She was eight years old when she lost her infant brother Yoris to leukaemia, a tragic lesson at an early age about the fragility of life. From ages four to 14 she studied ballet, deciding after that to continue on at school rather than pursue a place at the Australian Ballet. As a boarder at Geelong Grammar, she met a drama teacher who encouraged her to explore acting. “So that’s when I started my craft,” Dusseldorp says.

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