The MT Diary: Seeing myself on stage, and some expensive risotto

David Hare puts me on the London stage, and Milan's fashionistas take over La Scala.

by Howard Davies

It's odd to watch oneself on stage. That was my fate at the National Theatre opening of The Power of Yes, David Hare's play about the financial crisis. (Anyone who understands the title, by the way, should write in).

The play was conceived, as it were, in a debate at the LSE about the extent to which novelists and playwrights engage with the business and economic issues of the day. I'd remarked when judging the Booker Prize two years ago that only one of 110 novels I read was set in a business context. Nick Hytner, the director of the National, got to hear of this argument and commissioned Hare to write a play about the financial crisis, so I only had myself to blame for being an early port of call.

If you agree to be interviewed on the record, on what can hardly be described as a good news story, you have to take what comes. Some of the things I said may now seem, up in lights, marginally less witty and pertinent than they did at the time. But, even so, I preferred to be identified, rather than to be the 'junior Bank of England official' - actually rather a senior one - who says disobliging things about the Governor, and about the FSA, behind a cloak of anonymity.

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