Writing about writers: exploring what you know, or the very definition of stifling egoism? Either way, it can be a terrible trap for the playwright, with craft becoming not just the subject of a work, but its defining feature. Hugh Whitemore narrowly avoids that fate in his unashamedly writerly 1977 piece about poet and novelist Stevie Smith, which is packed to the gills with erudite bon mots, yet, in Christopher Morahan’s leisurely revival, somewhat lacking in dramatic thrust.
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