📰The man who fell for Brecht— Feb. 27–Mar. 5, 1982

A three‑page Radio Times package exploring Bowie’s transformation into Brecht’s Baal for BBC1., plus one page from scrapbook (Daily newspaper)

Radio Times devotes a two‑page feature and a one‑page scrapbook to David Bowie’s starring role in the BBC1 production of Baal, capturing his shift back into theatrical performance and the cultural moment surrounding the broadcast.

📰 Key Highlights

• Three‑page Radio Times coverage: two‑page feature + one‑page scrapbook

• Bowie takes the title role in Brecht’s Baal for BBC1

• Behind‑the‑scenes commentary from director Alan Clarke

• Scrapbook includes scene breakdowns and production stills

• Coincides with Bowie’s Baal EP release (February 1982)

📰 Overview

In early 1982, David Bowie returned to theatrical performance through the BBC’s adaptation of Bertolt Brecht’s Baal. The Radio Times issue dated 27 February – 5 March 1982 featured a substantial three‑page package: a two‑page article examining Bowie’s interpretation of Baal and a one‑page scrapbook presenting scene stills and narrative captions. The coverage framed Bowie as both rock star and actor, emphasising his immersion in Brecht’s world and the artistic significance of the production.

📰 Source Details

Publication / Venue: Radio Times

Date: 27 February – 5 March 1982

Issue / Format: Two‑page feature + one‑page scrapbook

Provenance Notes: Verified through contemporary listings and surviving magazine copies.

📰 The Story

The Radio Times feature positions David Bowie at a creative crossroads. Having completed a six‑month run in The Elephant Man, Bowie sought a project that aligned with his long‑standing fascination with avant‑garde theatre. Brecht’s Baal offered exactly that: a raw, expressionist portrait of a destructive poet wandering through pre‑war Germany.

The article explores how Bowie’s public persona — charismatic, enigmatic, and visually transformative — intersects with Baal’s anarchic, self‑destructive nature. Director Alan Clarke describes Bowie as uniquely suited to the role, capable of embodying Baal’s poetic cruelty without romanticising it. The feature also touches on Bowie’s ambivalence toward long theatrical runs, his return to painting, and his desire for creative freedom.

The accompanying scrapbook expands the narrative visually. Production stills depict key scenes: Baal meeting Emilie at a society party; Emilie visiting him in a cab‑drivers’ café; Sophie enduring humiliation as part of Baal’s nightclub act; and Baal, Sophie, and Eckhart roaming the German countryside after Baal’s explosive departure from the club. Each caption situates Bowie within Brecht’s bleak, wandering world.

The scrapbook also includes commentary on Bowie’s artistic process, his reflections on New York, and his ongoing dialogue with his own identity — themes that echo Baal’s internal conflicts. Together, the feature and scrapbook present a layered portrait of Bowie at a moment when his theatrical, musical, and personal identities converged.

The timing of the coverage coincided with the release of Bowie’s Baal EP, recorded in Berlin and featuring five songs from the production — his final new release for RCA before moving to EMI.

📰 Visual Archive

(all images at foot of page)

Radio Times – UK Edition – 1982

• Two‑page feature

• One‑page scrapbook

• Promoting BBC1’s Baal broadcast

📰 Related Material

Explore the tags below for connected posts and themes.

📰 Closing Notes

This Radio Times package captures Bowie’s return to theatrical performance and his deep engagement with Brecht’s uncompromising vision. It stands as one of the most significant media documents of Bowie’s early‑1980s artistic evolution.

#DavidBowie #Baal1982 #RadioTimes #BertoltBrecht #BBCDrama

📰 Sources

• Radio Times, 27 February – 5 March 1982 (feature + scrapbook)

• Baal EP release details and production background

• Contemporary memorabilia listings confirming issue format PicClick UK

📝 Copyright Notice

All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

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