Has David Hare really joined Twitter?

Theatre types are agog at the arrival of a David Hare parody account on Twitter. Who’s behind it?

Forget Helen Mirren getting regally stroppy with drummers interrupting her West End play.

Forget Helen Mirren getting regally stroppy with drummers interrupting her West End play. The real drama of the bank holiday weekend has been unfolding 140 characters a time, concerns an equally distinguished theatrical luminary, and appears to be ongoing.

On Friday morning, an innocuous tweet complaining about Camden council appeared from a brand-new Twitter account, @LittleSirDavidH, whose profile picture bears an uncanny resemblance to a certain famous British playwright.

Further clues were supplied by knowing references to certain famous theatre directors (“The Telegraph have asked Richard Eyre to draft my obituary. I requested that he refer to me as ‘insouciant'”), certain famous media personalities (“Melvyn Bragg called … I was watching J’Accuse”) and – most revealing – a certain famous wife called Nicole (Farhi?), who appears to work in fashion. The question was unavoidable: had David Hare finally joined Twitter?

SirDH (as he styles himself) has kept us guessing. In the 48 hours since, there has been a blizzard of puckish commentary on dusty theatre groups of the 1970s, lofty pronouncements on fellow playwrights (“Howard Brenton just phoned me in an awful state. He is convinced I’m a genius”), speculation on Hare’s influence on younger female writers (“I am given to understand that debbie tucker green was inspired to write for the stage by My Zinc Bed”), even mischievous mention of the playwright’s controversial acceptance of a knighthood.

There has also been – for reasons mildly unclear – plentiful pondering on the assistance to the creative process of Fanta and Wotsits.

Despite initial speculation that Hare himself is behind the Twitter feed, that seems unlikely – though personally I hold out hope (and whoever is responsible has a frighteningly detailed knowledge of Hare’s oeuvre). Sunday morning saw the undignified spectacle of various real-life playwrights, notably Simon Stephens and John Donnelly, scrambling on to Twitter to deny they were responsible. Today, Mark Ravenhill, David Eldridge and Lucy Prebble have been engaging in backstage badinage with SirDH, to the point where Ravenhill admitted that he was struggling to concentrate on the latest draft of his new play for the Royal Shakespeare Company.

Even the Guardian has even been sucked into this tangled metatheatrical web. Earlier today I was invited to commission a new arts series, The Writer Thinks, pitched as “photographs of great writers pondering a new work” (if you’re reading, SirDH – we’re trying to clear some space in G2), and there have been distraught pleas for the attention of our theatre critics (“Dear @lyngardner, I will keep this brief and the tone cordial. Do you know why Michael Billington is ignoring me?”).

Despite attempts to discover the tweeter’s identity, however, SirDH refuses to be drawn on such reductionist questions, telling me: “with every play I write I discover myself anew.” Frankly, SirDH, we feel that’s what arts subsidy is for.

So who is responsible? Will SirDH attain the cult following of @Michael_Haneke and @CrimerShow? And where will the script lead next? As they didn’t quite say about Amy’s View – this one could run and run.