Welcome back to the home of the oxymoron. Evil genius. He asked the newspaper to print his obituary early so he'd enjoy it. That's like hiding at your own funeral. Yeah, it's a big, great gig. I'm Russell Kane. Join me to weigh in on whether the biggest players in history are more evil or genius. Becoming that rich, I'd say that at some level of genius. It also helps that it's a long time ago, right?

It's like the podcast version of telling your kids the ice cream van plays music when it's out of ice cream.

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Joining me today is Vicky Featherstone, head of the newly created National Theatre for Scotland, which she launched six years ago.

In that time, she has many awards to her name, including for Black Watch, the celebrated play about soldiers in Iraq, and her recent take on the Troubles of Fleet Street Inquirer.

Vicky arrived as a non-Scott to head a recently evolved Scottish institution.

That's a challenging task, and one with political sensitivities,

not least in the wake of devolution and arguments about independence.

And as if that weren't enough to be going on with,

she's had to evolve a theatre with no building and no permanent company.

Soon she's moving on to head the famous theatre of new writing,

the Royal Court in London, which once launched Lookback in Anger

and is one of the best-known horns for today's new writing,

including the smash-hit Jerusalem.

The Royal Court

is breaking new ground with Vicky. She's the first woman to be artistic director in its 50-odd-year

history. Please welcome to the stage, Vicki Featherston. Thank you very much.

Well, on the 1st of November 2004, I walked into an empty office on the aptly named Hope Street,

armed with nothing but a notebook, with a few scribbled ideas, a mobile phone,

and a fundamental belief in the power of theatre to transform lives.

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