RICHARD BEAN IS A paradoxical talent — a dramatist who can coin broad-spectrum farce and nimble political satire. Most audiences will associate him with the brilliant adaptation of Goldoni’s eighteenth-century farce, One Man, Two Guvnors, a triumph of physical comedy at the National Theatre, back in the days when James Corden was still funny. Little Britain, a fast-turnaround send-up of the newspaper hacking saga also hit the mark, but that is a relatively easy target.
He is also a rare member of the awkward squad in theatre and the risks of climate change researchers veering close to undiscerning activism in .
