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Prepared to accept. so, i think the feeling was that perhaps over the 400 years, it had lost some of its edge and by reframing it in this context of a pakistani muslim family in modern day birmingham, you suddenly, there is a elective intake of breath among that collective —— among the audience and i think that is what it needs. it is among the audience and i think that is what it needs.— is what it needs. it is fascinating to hear you _ is what it needs. it is fascinating to hear you talk _ is what it needs. it is fascinating to hear you talk about _ is what it needs. it is fascinating ...

Aneel gupta, the bafta—winning writer and executive producer behind the office and also citizen khan and the kumars at number a2. aneel, you adapted the story of ta rtuffe into a play about a british—pakistani family in modern—day birmingham. how does that work? amazingly, it works quite well. the rsc had the idea, i think because obviously as you mentioned, the original play was an incredibly dangerous piece of work and you could have got killed for doing that sort of thing in 17th—century france where it was, as with a lot of great comedy, walking on a very thin tightrope, in terms o...

About catholicism or religion in that sense but about the way that religion is practised, the way that it relates to everyday people and the way that it can be used by certain people. so, i think the eponymous character, tartuffe, is not really a religious character, he is a con really, he is someone who clothes himself in the guise of a pious individual and uses the power that gives him over pious religious people to his own advantage. it is actually a play about a family who are in crisis and the patriarch who is searching for some kind of spiritual meaning in his life and this character com...