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.

Listen to evil genius on BBC Sounds.

Jonathan, thanks very much indeed.

On tonight's free thinking, a suspecter of inequality stalks, the world,

a new biography of Eleanor Marx, is published a political radical. A proselyzer for Ibsen

and the daughter of that other revolutionary Karl Marx will discuss her later what she meant then,

what she means now. Plus, we all know science fiction literature and fiction,

but is science fiction in the theatre on the rise? Well, we'll find out. But first,

Yellowface, a play by David H. Wong, an American dramatist probably still best known for

M Butterfly, where a French diplomat falls for a male Chinese opera star,

masquerading as a woman. Most of David Wong's work reflects on the Asian-American experience,

including his latest play, Kung Fu, about Bruce Lee in America. Yellowface, first seen in the US in 2007,

opens here tomorrow at the National Theatre.

At its heart is a playwright called D.H.

Who, like the real playwright himself, makes a name for himself by protesting against the casting

of a white man as an Asian in the 1990s production of Miss Saigon.

Happy to mock himself, the playwright has DHS himself inadvertently cast a white man as an Asian in one of his own plays.

Yellowface is a determinedly comic account of how identity is performed, both in theatre and in life.

The play, though, begins with DHS, DHS, sorry,

begins with DHS, denouncing the whitening of Miss Saigon.

Hello? Hi, David. It's B.D.

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