Lloyd Evans

Lloyd Evans

Lloyd Evans is The Spectator's sketch-writer and theatre critic

Sir Keir’s style is too legal to land a blow on Sunak

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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 score an easy victory. He began with a joke: three Tory home secretaries have been sent to Rwanda but not one refugee.  Rishi ignored that and updated the house on Labour’s policy which is to ‘scrap the scheme if and when it is operational,’ he said. He concluded that Sir Keir ‘finds himself on the side of the people smugglers.’  Labour doesn’t realise how bad this will sound on the doorstep.

The new status symbol of the super rich: headlice

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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 Colonel’, who replaced the traditional blazers, caps and ties with a uniform of soft shoes, breeches and cravats inspired by George Mallory’s climbing kit. The Colonel’s wife chose the colours – red, brown and saffron – and the pupils became a local landmark as they marched along the King’s Road to play games at the Duke of York’s parade ground. Their red breeches suggested a nickname, ‘the Rusty Blobs’. King Charles was a Rusty Blob.

What a muddle: The House of Bernarda Alba, at the Lyttelton Theatre, reviewed

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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. The idea, perhaps, is to suggest a lunatic asylum or an NHS waiting room. Lorca’s steamy tale is set in a remote Spanish village in the 1930s where life is dominated by the repressive and superstitious Catholic church. The story opens with a nasty matriarch, Bernarda Alba, celebrating her husband’s death by ordering her five unmarried daughters to spend the next eight years indoors, doing embroidery. No visitors are allowed.

Did Starmer let slip Labour’s secret plan to win back the Red Wall?

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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’ arises from the knowledge that ‘they simply can’t afford to pay their energy bills,’ he explained. If Flynn played an executioner at the London Dungeon he wouldn’t need a face-mask. His natural expression does the job. He moved on to the children of Aberdeen who, he conceded, ‘were filled with delight’ at the prospect of snow.

An amusing playlet buried in 150 minutes of rhetoric: Mates in Chelsea, at the Royal Court, reviewed

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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 that feature characters who live nearby. Mates in Chelsea, at the Royal Court, stars a bone-idle superbrat, Tuggy, whose inheritance is threatened when his snooty mother (who is brilliantly played by Fenella Woolgar) decides to flog the family castle in Northumbria. An offer is received from a Russian billionaire, Oleg, and Tuggy promptly has a meltdown. After an elaborate farce, the play ought to peter out.

Don’t mock Big Tech around Rishi Sunak

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PMQs began with Sir Keir Starmer’s favourite trick. He read out a sob-story intended to humiliate the government. Having outlined the woes of two unfortunate citizens, he accused Rishi Sunak of ‘refusing to take responsibility’ and of ‘boasting that everything is fine’. The sad pawns in this prank were a teenage boy and his hard-working mother. Sir Keir even named them in the house. The young lad doesn’t go to school and his mum struggles to look after him while maintaining her job in the NHS. The pair get no help. They have no friends or neighbours, apparently. No colleagues, no relatives and no teachers to give them support. There isn’t even a boyfriend or a husband to share the load.

Gloriously entertaining: Backstairs Billy, at the Duke of York’s Theatre, reviewed

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Backstairs Billy is a biographical comedy about William Tallon, who worked as the Queen Mother’s chief footman for years following the death of George VI in 1952. Tallon was an enthusiastic gay cottager whom the tabloids suggestively dubbed ‘backstairs Billy’ during the 1970s when attitudes to homosexuality were growing more enlightened. The show, directed by Michael Grandage, is set in 1979 and Luke Evans plays Billy as a swaggering charismatic stud who loves his role as the unofficial head of the Queen Mum’s household. He adores his employer, ‘the last Empress of India’, and he praises her decision to remain in London during the Blitz rather than decamping to safety in the countryside or overseas.

Our theatre critic applies to be director of the National Theatre

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The director of the National Theatre will be stepping down in 2025. I’ve written to the chairman offering a new vision for Britain’s leading playhouse. Dear Sir Damon Buffini, I’m a reviewer of plays and a part-time theatre producer. In the past 20 years I’ve seen more than 2,000 shows, hundreds of them at your venue, and here is my plan to transform the NT. Britain’s dramatic heritage is the best in the world and our national theatre should meet that standard of excellence. Three simple reforms to start with. US stars crave the prestige offered by the NT. Each year we will hire half a dozen Oscar-winning actors One: cancel the annual £16 million subsidy from the Arts Council. Britain’s leading theatre doesn’t need a donation or the advice that accompanies it.

PMQs: Sunak struggles to defend David Cameron

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The House of Lords is like a bag of doughnuts in the lap of a traffic policeman. There’s always room for one more. The newest peer, David Cameron, was the subject of much amused scorn at PMQs. Rishi Sunak wasn’t prepared for an obvious query about his new Foreign Secretary: what is Dave’s greatest feat on the international stage? Kevin Brennan, of Labour, put this question, and he asked Rishi to name a specific achievement. ‘Many, many,’ said Rishi, floundering in shallow waters. In search of a highlight from Dave’s CV, he said that he ‘hosted one of the most successful G8 summits of recent times.’ Rishi didn’t enlarge.

Surprising flop from a top-class team: To Have and To Hold, at Hampstead Theatre, reviewed

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To Have And To Hold boasts a starry cast and a top-class creative team. Richard Bean’s script is a meditation on ageing, directed by Richard Wilson and Terry Johnson, and it opens with a sight-gag about a wonky stairlift descending into a suburban lounge in Yorkshire. The stairlift is occupied by Flo, a tea-drinking fusspot (charmingly played by Marion Bailey), who looks after her crumbling husband, Jack. Both have endured 70 years of marital bliss and are slithering gently into the grave. Flo gets help from her middle-aged son Rob and his sister Tina, but they’re zestless, bland personalities.

Branagh can’t quite banish the spirit of Noel Edmonds: King Lear, at Wyndham’s Theatre, reviewed

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Branagh vs Lear. The big fixture in theatreland ends in a win for Shakespeare’s knotty and intractable script which usually defeats any attempt to make it coherent or dramatically pleasing. This truncated version is a two-hour slug-fest set in the stone age – and it sort of works. The warriors fight with sharpened walking sticks and they stab each other using twigs whetted to a fine point. If you ignore the steel buckles and the writing paper, which were clearly invented earlier, you’ll find it just about believable. On stage, Branagh can’t quite banish the spirit of Noel Edmonds and he adds to the cheeky-chappie persona with a thick golden quiff (possibly a wig) and a mink collar that seems to have been backcombed and scented with talcum powder.

Elon and Rishi’s unseemly love-in

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Two of the world’s great unelected power-brokers met last night at Bletchley Park. Elon Musk and Rishi Sunak held a joint interview after the international conference about AI. Their topic was regulation. ‘What should a government like ours be doing?’ said the PM. What an odd start. Why is the Prime Minister asking a foreign billionaire to pre-empt parliament by shaping our internal regulations for us? But Elon seems to get a free pass. He’s regarded as a disinterested operator who supports the powerless against the mighty. And his air of eccentric innocence is fortified by his appearance. He hadn’t bothered to shave. His jowls are rimmed with bum-fluff and he grins constantly like an excited schoolboy. No stylist gets anywhere near him.

Real women do not behave like this: Lyonesse, at the Harold Pinter Theatre, reviewed

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Lyonesse by Penelope Skinner takes a while to get going. The central character, Elaine, is a washed-up British actress (Kristin Scott Thomas) who lives in a crumbling mansion in Cornwall where she dreams of making a comeback as a movie star. She contacts a clueless researcher, Kate, and asks her to drive down from London to write a screenplay about her reclusive existence in the sticks. Kate meets Chris, a mixed-race lesbian poet who works as Elaine’s chauffeur, factotum, and companion. Chris also keeps the moths away from Elaine’s collection of 12 dead parrots, stuffed and caged. It’s a piece of absurdism that doesn’t know how absurd it is After nearly an hour of stage time, Elaine is ready to narrate her life story with Chris on duty as her stagehand.

It’s a bit late for Dominic Cummings to apologise

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Dominic Cummings showed up at the Covid Inquiry dressed in his signature white shirt. Plus, in a nod to formality, he’d added a shoe-string tie , rakishly askew. He was interrogated by Hugo Keith KC, a lawyer with a plausible manner and an expensive tailor. He looked like one of those shiny new MPs with an answer for everything. The kind who switches parties as easily as changing energy suppliers. Keith obviously hoped to make Cummings blush by reading out his famously sarcastic emails. He recited this from the archive. ‘The cabinet’, wrote Cummings, ‘is largely irrelevant to policy or execution… it’s seen by everyone in No 10 as not a place for serious discussion.’ Cummings stuck to his guns on the stand.

The shallow truth about Rachel Reeves

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Sexism struck early in Rachel Reeves’s life. Last night the shadow chancellor gave a talk about her new book on female economists, and she recalled an early brush with toxic masculinity. Aged eight, competing in a public chess tournament, she faced a little boy who foresaw a swift and easy victory. ‘Lucky I’m playing a girl’, he said. Reeves duly thrashed him. ‘He didn’t say it again after that,’ she told the crowd. At Oxford and the LSE she was a keen sexism detective and she noted with dismay that there were no women teaching economics at either university. Things got worse at the male-dominated Treasury where her colleagues created a new computer graphic, BOEQM (Bank of England Quarterly Model.

Rishi Sunak has lost his fizz

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A harrowing session at PMQs. Rishi Sunak seemed subdued and de-energised. His fizz had gone flat. The usual hip-wriggling shuffle at the despatch had been replaced with a hunched, anxious pose. Heavy shoulders. Head drooping. The Middle East crisis has snapped his elastic. The issue Sir Keir had ducked was Gaza. Too hot to handle Sir Keir, by contrast, was beaming like a City embezzler celebrating his daughter’s wedding. Spreading one arm wide, he turned munificently towards his backbenchers and welcomed the victors from last week’s by-elections. He poked fun at the defeated Tory in Tamworth, Andrew Cooper, who had dismissed the complaints of voters who can’t buy food but can afford a mobile phone.

If only Caryl Churchill’s plays were as thrillingly macabre as her debut

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The first play by the pioneering feminist Caryl Churchill has been revived at the Jermyn Street Theatre. Owners, originally staged in 1972, feels very different from Churchill’s later work and it recalls the apprentice efforts of Brecht who started out writing middle-class comedies tinged with satirical anger. Churchill sets her play in the cut-throat London property market where prices are soaring and tenants are apt to be evicted if they can’t cover sudden rent rises. Marion is an estate agent who secretly buys a house occupied by her former lover Alec who is married to Lisa. Their third child is on the way. Marion hatches an evil plan to kick the family out and to claim Alec back as they sink into financial ruin.

Starmer channels Blair on Israel

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The gears were grinding hard at PMQs. Sir Keir Starmer shifted his party decisively away from its Corbynista past and pledged full support for Israel after the recent atrocities. He said he was ‘still mourning the terrorist attacks’. And having met relatives of British hostages held by Hamas, he was unequivocal. ‘Release them immediately.’ Sunak hid behind legal sophistries It’s a shame that his rhetoric felt so polished and poetic. Almost like song lyrics. ‘Too much blood, too much darkness,’ he crooned. ‘The lights are going out and innocent citizens are terrified they will die in the darkness, out of sight.’ And he indulged in a lot of glib verbal counterpoint. ‘Hamas are not the Palestinian people and the Palestinian people are not Hamas.

They call me the ‘problem teetotaller’

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My guts went on strike last July. I was staying in a hotel and I spent several days sprawled on the bed, vomiting occasionally, eating and drinking nothing and barely able even to wet my lips with water. Meanwhile, a bottle of Prosecco offered by the management stood untouched next to the widescreen TV. I started to wonder if this was my Frank Skinner moment. My farewell to booze. In his memoirs, Skinner describes how he gave up drinking by accident in his twenties when a virus confined him to his bed for a week and destroyed his interest in alcohol. Restored to health, he went back to the pub to meet his friends but he shunned drink because he’d realised it was superfluous. As rehab stories go, Skinner’s is bizarre because it’s so quiet and unassuming.

Scherzinger is superb but why’s the set so dark and ugly? Sunset Boulevard, at the Savoy Theatre, reviewed

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Sunset Boulevard is a re-telling of the Oedipus story set in the cut-throat world of Hollywood. Pick a side in this tortured yarn. There’s Norma, a burned-out sex-goddess, who wants to make a comeback as a teenage ballerina in a dance epic. Or there’s Joe, a penniless scribbler, who becomes Norma’s reluctant toyboy while he works on her doomed screenplay (which stands for a stillborn child). Clinging to Joe is Betty, a drippy girlfriend who represents escape and artistic integrity. The final piece in the jigsaw is Norma’s discarded husband, Max, who stands for sadistic and destructive obsession. Each day he sends Norma a new batch of counterfeit love letters from non-existent fans.