From Thatcherism to global crisis to an ever-online world, she has chronicled our race to the abyss. Now she’s written a play about a blond-wigged voicepiece for an un-named, strongman ruler. Who can she mean?

Triumph, which has just opened at London’s Almeida theatre, is Caryl Churchill’s latest piece of explosive minimalism. Running at just 20 minutes, it skewers contemporary barbarism without mentioning the names of Trump, Putin or any of the other supposedly strong national leaders. It works through historical analogy and is a reminder that Churchill – while “always ahead of the game” in the words of the play’s director, James Macdonald – has in recent years developed a form of elliptical drama for which the apt word might be compressionism.

At the heart of Churchill’s new play is an edgy romance between a male journalist and a female press officer who dons a blond wig for her screen appearances and who is a vigorous apologist for a cruel, vindictive, narcissistic emperor.

Best known as Nurse Phyllis in the TV hit, the actor is a peerless interpreter of Caryl Churchill and is starring in Alexander Zeldin’s ‘Shakespearean’ play about dementia. She looks back on a career of unconventional choices

‘Every part is an education,” says Linda Bassett. “That’s the glory of being an actor. You learn about human feelings and frailty and rottenness. The writer puts their soul on the page, and you inhabit that. I’ve always felt I was a writer’s actor.”

She’s not wrong. Never showy, Bassett’s understated magic has enhanced plays by Timberlake Wertenbaker, Wallace Shawn, Ayub Khan Din and, notably, Caryl Churchill, of whom she is a peerless interpreter.