Brecht, the admired and provocative poet, playwright, idol of the left and scourge of Divinity, died in 1956. But what of his legacy today? In the prologue, God’s Equerry tells Brecht that he is to return to Earth anonymously for a week – specifically to Cambridge – where he will discover the modern reception of his work and ideas. After that he will report back. The seven scenes thus span seven days: in Act One, Brecht returns as a subversive and steamy student, meets Elisabeth Hauptmann in a gastro-pub, attends a seminar and gets caught up in a rally in which the feminists idolize his ‘Leez-ah-bett’. All the time, his mind slips back to (the often poignant) events as they really were. In Act Two, he fails to win a Fellowship in Brecht Studies; he eavesdrops on a Tai Chi class; and he rehearses part of a play of his own where the modern student production has replaced his anti-fascist agenda. In the epilogue he prepares to sing on command to God. But his remote past returns, and he remains unbowed. Will he finally buckle, and sing?