National theatre

Directors appear to have two design options when approaching a Shakespeare tragedy. Woodstock or jackboot. Woodstock means papal robes, shoulder-length hair and silver Excaliburs gleaming from jewelled belts. Jackboot means pistols, berets, holsters and submachine-guns. Sam Mendes sticks the jackboot into King Lear in an attempt to find ‘a modern understanding of the story’, as he puts it. What this ‘modern understanding’ reveals is that Shakespeare’s opening scene allows the dramatic focus to move between the personal and the political with invisible fluency. Mendes destroys this asset by laying on a televised show trial. Lear’s daughters, surrounded by scowling commandos, are arraigned at miked-up tables as if accused of treason.

They’re now televising proceedings from the Court of Appeal. Great. As if I didn’t have enough to do already, keeping tabs on Strictly Come Dancing and EastEnders, I now have to monitor what’s happening within the hallowed judicial temples of the land. The broadcasting of court cases has been much debated, with people fussing about whether it will influence the meting out of Justice, and the implications for Law and Order once these are exercised in front of the cameras, and other high-minded issues. My own worry is about my job scope. Everything is televised these days, which means everything can be reviewed. There are the main channels such as

There are many pleasures in The Light Princess, a new musical by Tori Amos. George MacDonald’s fairy story introduces us to a beautiful red-haired royal, Althea (Rosalie Craig), who has a mysterious resistance to gravity. After various tribulations she abandons life on dry land and becomes a mermaid. The show meets these technical challenges with some brilliance. Althea seems to float mysteriously across the stage in midair while being supported on the limbs of black-clad gymnasts. Later she moves to a lake, which is suggested by intricate layers of shimmering blue cloth. But despite the sumptuous and ingenious special effects, the show hasn’t a powerful enough storyline or sufficient character

High summer and it’s blockbuster time. The Donmar’s latest show is by the acclaimed Nick Payne, whose play about string theory, Constellations, wowed the West End last year. Constellations niftily incorporated its subject matter into its formal structure. What does that mean? It means the storylines multiplied like an exploding atom until an infinite number of possible endings came crashing through the space-time continuum and collided with the viewer’s patience, bundling it down a black hole. It was very clever and very boring but theatre-goers were so chuffed with themselves for understanding the physics that they kept quiet about the ‘boring’ bit. Payne returns with a sitcom. Two dim-witted solicitors

West End producers are itching to get their hands on the new show at the Bush. Mama Mia’s director, Phyllida Lloyd, takes charge of a script written by the Torchwood actress Cush Jumbo about the world’s first black female celebrity. Josephine Baker was born to wow the crowds. A child cabaret artiste from St Louis, she performed as a chorus girl in New York and then leapt the Atlantic to become the toast of Paris in the 1920s. Aged 19, she was one of the biggest theatrical stars in Europe. She married an Italian count, adopted 12 children, bought a château, went bankrupt, fought for the Resistance during the war,

In this week’s lead feature in the Arts section, Tom Rosenthal explains just why he thinks the Lowry retrospective at Tate Britain is so long overdue. Lowry is one of our most popular artists – and it is exactly this that has been his downfall. ‘Can one disapprove of someone merely because he popular? Clearly one can’, writes Rosenthal. The lack of Lowry in London only highlights ‘the fashionable dislike of Lowry’s art’. But, finally, Lowry has made it to the walls of Tate Britain. Should his work be there? Andrew Lambirth will be reviewing the exhibition in a future issue of The Spectator, but for now you can make

Good and bad at the National. The Amen Corner by James Baldwin is a wryly observed comedy drama written for a studio theatre. It’s an excellent small play. The director Rufus Norris pumps it full of steroids and tries to turn it into a great American epic like Streetcar or The Crucible. His staging suggests the finale of a country-house opera festival. Costly baggage impedes the script’s sprightly flow. On-stage jazzmen snivel through trombones and hack at double basses. Preening choirs warble and sway. Spare actors hang out of windows trying to look cool and indolent. The running time reaches a Napoleonic 155 minutes. Megalomania infects the furniture too. Baldwin

So, Nicholas Hytner is to step down as director of the National Theatre at the end of March 2015. How canny of Lloyd Evans to review his ten-year reign on the South Bank in The Spectator arts pages on 6 April, the week before his official announcement. Lloyd wrote: ‘Artistic freedom has been the hallmark of his ten-year stewardship….No one guessed how bold Hytner would be. He took the presiding spirit of the theatre, as embodied in its ponderous title, and chucked it in the Thames. Instead of running a museum of official art he created a showcase for his personal inclinations. The National Theatre of Hytner. An astonishing risk.