Lloyd Evans is The Spectator's sketch-writer and theatre critic
The row over Richard III rumbles on. Disability groups have objected to the Globe’s forthcoming production in which Michelle Terry will take the lead. The able-bodied Terry, who happens to be the Globe’s artistic director, has apologised ‘for the pain or harm that has been caused by the decision for me to play Richard III.’
Plaza Suite is a sketch show by Neil Simon set in a luxury New York hotel in 1968. The play is rarely revived and it’s never been staged in the West End before. Simon’s idea (which Noël Coward accused him of stealing from his play Suite in Three Keys) is to place a trio of
Let’s hear it for Phil. The unexpected hero of PMQs was an Iceland employee in Warrington (referred to as ‘Phil’, no surname given) whom Sir Keir Starmer held up as a victim of Tory fiscal mismanagement. Doubtless poor Phil had no idea his personal circumstances were about to dominate today’s parliamentary punch-up. The session began
Don’t Destroy Me is the rather breathless title of Michael Hastings’s first play which he wrote when he was just 18. The material draws on his adolescent years in a south London boarding house and the action opens with an elderly husband, Leo, and his unfaithful young wife, Shani, preparing for a visit from their
Sir Keir’s spin doctors have been enjoying clips of Tony Blair’s performances as opposition leader. In the mid-1990s, Blair took aim at John Major with this, ‘I lead my party, he follows his.’ At today’s PMQs, Sir Keir tried the same judo-throw on Rishi Sunak. ‘I’ve changed my party. He’s bullied by his,’ he said.
I love aphorisms. As a kid I used to pore over my parents’ book of quotations, relishing its gems and treasures like the defiant wit of Palmerston. ‘Die my dear doctor? That’s the last thing I shall do.’ ‘Sweater: garment worn by a child when its mother is feeling chilly’ The beauty of these sayings
The Enfield Haunting is a good old-fashioned horror show that wants to be a documentary as well. It’s based on a hocus-pocus yarn that made the front page of the Daily Mirror in 1977 and was swiftly forgotten. The play opens in an Enfield terrace that resembles a bomb site, complete with charred plasterwork, missing
The agony could strike at any moment. Daggering pains in my lower back demanded correction. Not just painkillers, I needed a permanent cure. ‘Thai massage’ suggested the internet, so I hobbled across a tangle of east London streets and found a doorway beneath a pink neon sign. A receptionist of south Asian appearance, bundled in
Wow. For Rishi fans, that was one to forget. The Tory leader lacked his usual fluency and focus at PMQs today. Instead of a hungry whippet leaping out of the traps, we watched a fretful hare being chased around the circuit. If mockery won votes, this was a landslide Rishi’s sub-par effort coincided with a
Many of today’s theatre directors seem to believe that Shakespeare’s work was a huge mistake which they have a duty to correct. According to Max Webster, the director of Macbeth at the Donmar, Shakespeare’s error was to write scripts for the stage which would work better as radio plays. His amended version is set in
Both leaders seemed pretty chipper at PMQs. With an election likely this year, Rishi Sunak has nothing to lose and Sir Keir Starmer has everything to gain. He opened with a dig at Sunak’s plan to ‘stop the boats’ which, he alleged, the PM had never truly believed in. Sir Keir lamented that ‘the Rwanda
Pandemonium is a new satire about the Covid nightmare that uses the quaint style of the Elizabethan masque. Armando Iannucci’s play opens with Paul Chahidi as Shakespeare introducing a troupe of players who all speak in rhyming couplets. A golden wig descends like a signal from on high and Shakespeare transforms himself into the ‘World
Looking back at the year’s West End theatre, a few shows stand out. First, the best. Vanya, starring Andrew Scott at the Duke of York’s Theatre, was an audacious and frankly barmy attempt to reimagine Chekhov’s sprawling family melodrama, Uncle Vanya, as a monologue. The risk was that it might come across as a lengthy
Infinite Life is about five American women, all dumpling-shaped, who sit in a hotel garden observing a hunger strike. Some of them haven’t touched food for days, some for weeks. ‘Don’t be afraid to puke,’ counsels one of the dumplings. ‘Puking is good.’ They pass their afternoons wittering inanely about nothing at all. One dumpling
Christmas at PMQs began with a call for the government to scrap its in-house astrology team. Greg Smith, a Tory backbencher, said he was fed up with the Office of Budget Responsibility whose latest forecast ‘was £30 billion out.’ Smith wants ‘lower taxes’ and he suggested that ‘we need a better system of financial modelling.’
The Rwanda treaty has established two new norms in politics. First, the Supreme Court acts as a revising chamber with the power to change government legislation. Secondly, Labour is terrified of Rwanda. At PMQs, Sir Keir thought he was on a winning ticket and all he had to do was mock the relocation scheme and
To help out friends, I sometimes collect a boy from his primary school near Sloane Square. This part of London boasts the most expensive homes in Britain and the local families are served by a crop of ultra-pricey schools. The best known, Hill House, was founded in the 1940s by an eccentric army officer, ‘the
Green, green, green. Everything on stage is the same shade of eau de Nil in the NT’s version of Federico García Lorca’s classic, The House of Bernarda Alba. All the furniture and props are green. The mirrors, the walls, the crucifixes, the clocks and even the bucket and the knife-rack bear the same queasy pigment.
Winter looms, and at PMQs the Scottish nationalists were swift to exploit the darkness and the chill. ‘Dread,’ intoned Stephen Flynn, the SNP’s freakishly macabre leader in Westminster. ‘Their hearts fill with dread,’ he said. Flynn was describing the inner lives of parents in Aberdeen as they contemplate the first snows of November. Their ‘dread’
Theatres outside London like to produce shows that appeal to their local communities. Inside London, where cultural attitudes are strangely warped, theatres are happy to disregard the neighbourhoods they serve, and they show little interest in the lives of their customers. But the Royal Court Theatre and Hampstead Theatre have both chosen to stage shows