Lloyd Evans is The Spectator's sketch-writer and theatre critic
Look at this line. ‘I’m 80 years old. I find that unforgivable.’ Could an actor get a laugh on ‘unforgivable’? Maureen Lipman does just that in Rose, by Martin Sherman, a monologue spoken by a Ukrainian Jew who lived through the horrors of the 20th century. In the opening sections, Lipman plays it like a
The queue snakes for miles along the South Bank. Thousands of ordinary people are giving up hours of their time to spend a moment with the Queen’s coffin as it lies in state. Few mourners are dressed up. One or two wear suits and black ties. Some carry flowers. There’s the odd veteran with his
Here comes Paddington – again. Earlier this year, to celebrate her platinum jubilee, the Queen agreed to be filmed taking tea with Paddington in a sketch whose final punchline was a joke about marmalade sandwiches. Her Majesty told the bear she always carries one in her handbag, just in case. On film she was excellent,
Rehab: The Musical opens with a boyband star, Kid Pop, getting busted for possession of cocaine. The judge sentences him to a course of treatment at the Glade which he attends with great reluctance. Giving up marching powder is the last thing on his mind. ‘I said no to drugs but they just wouldn’t listen.’
‘Trans people are sacred. We are divine.’ The first line of I, Joan at the Globe establishes the tone of the play as a public rally for non-binary folk. The writer, Charlie Josephine, seems wary of bringing divinity into the story too much, and he gives Joan a get-out clause to appease the agnostics. ‘Setting
That felt like a dress rehearsal. Liz Truss sailed through her first PMQs which will probably be her easiest. It may turn out to have been her best. When she arrived, the House burst into ecstasies of joy as if she’d just found the cure for malaria, solved the Jack the Ripper case and liberated
The Angel of Prisons dramatises the life of the penal reformer Elizabeth Fry, who lived near Canning Town. She married a wealthy Quaker, Joseph Fry, who encouraged her philanthropic work which she managed to pursue while raising 12 children. Early in life, Fry had been a party girl who loved dancing, and this production shows
Southwark Playhouse has a reputation for small musicals with big ambitions. Tasting Notes is set in a wine bar run by a reckless entrepreneur, LJ, whose business bears her name. In real life, LJ’s bar would go bust within weeks. It serves vintage wines to a clientele of wealthy tipplers who chug back large tureens
In a new hour-long monologue, Burn, Alan Cumming examines the life and work of Robert Burns. The biographical material is drawn from Burns’s letters, and the poems are read out in snatches. You won’t learn much except that Burns was a poor farmer who later worked as a taxman. To represent his many flings with
Ian McKellen’s Hamlet is the highlight of Edinburgh’s opening week. In this experimental ballet, Sir Ian speaks roughly 5 per cent of the lines, accompanied by a hunky blond dancer, Johan Christensen, who offers a physical interpretation of the Dane’s melancholy. The other roles are played by a ballet troupe in olde worlde costumes. The
The Barbican’s big summer show is billed on the website as ‘the sold-out musical sensation, Anything Goes’. The term ‘sold-out’ is a strange way to describe a production that’s keen to get your business. You’d be forgiven for clicking away and hunting for a show with seats available. What the Barbican means is that this
Simon Godwin’s Much Ado About Nothing is set in a steamy Italian holiday resort, the Hotel Messina, in the 1920s. A smart move, design-wise. The jazz age was one of those rare moments in history when every member of society, from the lowliest chambermaid to the richest aristocrat, dressed with impeccable style and flair. The
Patriots, by Peter Morgan, is a drama documentary about recent Russian history. And though it’s a topical show it’s not entirely up to date. The central character, Boris Berezovsky (1946-2013), was a schoolboy maths wizard who went into academia and published 16 books before entering politics. His Jewish background excluded him from the leadership of
Today Boris gave his last performance at Prime Minister’s Questions. But was it his last? He left the House hanging at the end. Speaker Hoyle began the historic session with a soggy little homily praising Boris for seeing us through ‘dark times during the pandemic’. Then, laughably, he told MPs to adopt a ‘respectful manner’
Last night Channel 4 held a 90-minute live event starring Rishi, Liz, Tom, Penny and Kemi. Not a manufactured pop-band but the candidates for the Tory leadership. The first question was easy-peasy. ‘Is Boris Johnson honest?’ ‘No,’ the obvious answer, was beyond them. They ducked and weaved and dodged and fudged. Except for Tom Tugendhat.
The Southbury Child is a comedy drama set in east Devon featuring a distressed vicar, Fr David, with a complex addiction history. Alex Jennings stars with his habitual urbane charm. Is there perhaps a credibility gap there? Jennings seems far too decent, clever and friendly to be a problem drinker who likes nothing better than
A curious atmosphere in the Commons today. Relaxed. Jovial. Almost like a party. There was a bit of aggro at the start when two MPs were ‘named’, that is thrown out, for the crime of defying the authority of the chair. Boris seemed perfectly stoical about everything. He obviously couldn’t care less anymore and he
The Tory candidates have released a set of videos presenting their claim to become Britain’s next prime minister. Frontrunner Rishi Sunak has dubbed his pitch, ‘Ready for Rishi’, which sounds, unfortunately, like the cheapest option at a Hounslow massage parlour. His movie centres on his unstoppable rise to world domination. His mum was a penniless
There was no bitterness. And the blame was issued in coded terms. Boris’s resignation speech began with a reference to his most notable achievement: the ‘incredible mandate’ he secured in 2019 and which gave the Tories their largest majority since 1987 and their biggest share of the vote since 1979. He spelled that out explicitly.
Roy Williams’s new play is a wonky beast. It has two dense and cumbersome storylines that aren’t properly developed. Dawn is a mother grieving for her eldest son who was murdered by a gang of white boys. Her younger lad is dating a white girl who used to hang out with the killers. It’s a