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 is 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.

Hello, welcome to Radio 3's Freeethinking Festival, perched high above the tine in the steel and glass pod of Sage Gateshead.

And this tonight will be a theatrical event. Hopefully one of those five stars, unmissable, steel and usherirex uniform, I whistled it all down the strand

theatrical events, because we're bringing together one of Britain's leading actors with a playwright

who I'm going to embarrass by saying is one of the most important dramatists working today.

Exhibit A in this argument is his play The Events, a response to the dreadful crimes of the Norwegian

neo-Nazi Anders Breivik. Maybe you saw it. It's been produced all around the world. And if you did see it,

you'll know it's one of those rare plays that you'll carry around in your head for years.

Its author is David Gregg, the man who brought the umpulumpers to London's West End, sent

Tintin to Tibet and dispatched the cosmonaut's last message to the woman he once loved

in the former Soviet Union. He also wrote a blistering sequel to Macbeth called Dunsenae,

which was led by his co-star tonight, who, like him, has also worked

at more than one of our national theatres. It's Chavon Redmond. On stage, she's played

Miss Jean Brody, she's played Goldilocks, she's played God and Mephistophiles. On television,

she gave life to the unstoppable Shona Spurtle in the High Life and the tough nut cop Mo Connell

in the classic drama series about police corruption between the lines.

We'll be reading in that space tonight as we discover what happens between actors and playwrights.

Please welcome my guests, Shavorn Redmond and David Gregg. Now I want to start by talking about Dunsene, David, the play that you wrote for

the RSC in 2010, which has been travelling like Burnham Wood around the country, hasn't it, and on to

Radio 3. It's a play that explains what happened after Macbeth,

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