Felicity kendal

Michelle Terry is ferocious in Brecht’s simplistic tutorial

Bertolt Brecht’s classic, Mother Courage, is about a female war profiteer who drags a wagon of supplies through no man’s land and sells them to bedraggled soldiers. During the story, she loses both her children and she discovers that war is not as marvellous as she previously thought. This spiritual journey evidently mattered to Brecht, who was born in 1898 in Augsburg, and who greeted the outbreak of the first world war with enthusiasm only to become disillusioned by the mechanised slaughter of the trenches. His play is aimed at wrong-headed militaristic numbskulls who believe that war is good rather than bad. If you already hold pacifist views, you may find his tutorial a little simplistic.

Ladies’ man: Tom Stoppard’s love life revealed

Gilbert in Oscar Wilde’s dialogue ‘The Critic as Artist’: ‘Every great man nowadays has his disciples, and it is always Judas who writes the biography.’ Not here. Hermione Lee’s immensely long Tom Stoppard: A Life is expert, engrossing, entertaining and sympathetic to its subject. At its heart is a writer steely in his determination to entertain, an inexhaustible mine of mots, a non-stop genius of jokes, capable of winning the Nobel Prize for the interview as an art form. It comprehensively replaces Ira Nadel’s Double Act (2002), a biography which Stoppard hoped would be ‘as inaccurate as possible’. (Indian Ink and Arcadia are both explicitly hostile to biography and its hubris.