Royal Court theatre, London
Starting in Germany in the 1930s, there is a stinging topicality to Manfred Karge’s play addressing the renaissance of Nazi ideology

Early autumn London theatre has already featured two Oscar winners: Cate Blanchett in Electra/Persona and Mark Rylance in Tartuffe (Remixed). Now Tilda Swinton makes a trio. This shows the commendable dedication of some screen talent to theatre but also the box office need, in recessions, for famous faces. Unusually, there was a first night red carpet outside the Royal Court, leading a writer long associated with the venue to express “shock” to ushers at such Hollywood vulgarity.

Swinton is reprising Manfred Karge’s Man to Man, which she first performed 39 years ago, in a production heading to Edinburgh, Berlin and New York. The piece is a multicharacter monologue starting in Germany in the 1930s.

Manfred Karge’s play about a woman acting as her dead husband was a cause célèbre in the 80s. It remains a bracing portrait of a divided person in a divided culture

It was Pierre Audi, the much-mourned founder of the Almeida, who way back in 1986 sent me a coffee-stained copy of Jacke wie Hose.

Manfred Karge’s one-woman play is a study of female survival in a terrifying world. Ella is a working-class woman who takes on the identity of her dead husband, Max, to endure what Brecht memorably dubbed “the dark times”: the 12 years of Nazi rule. But Karge extends this to include the division of Germany into two nation states (one communist, one capitalist) and the reconstruction that followed.