Lloyd Evans

Lloyd Evans

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

Jeremy Hunt’s crafty Budget spells trouble for Labour

From our UK edition

Jeremy Hunt was designed to exclude unnecessary body movements. Tall and gaunt, his demeanour faintly bird-like, he worked through his Budget statement at a steady pace, sipping regularly from a tumbler of water. Or was it vodka? No, it was water, of course. Hunt has the air of someone who always waits for the green man to flash before crossing the road. And every library book he has ever borrowed came back on time. At the despatch box he wore a Davos costume: white shirt, bland tie, midnight blue suit with no badges or political emblems attached. Is there a man alive who can project ‘anonymity’ better than Jeremy Hunt? Probably, but we’ll never know what he’s called.

A ripping production with plenty of laughs: Guys and Dolls, at the Bridge Theatre, reviewed

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Further than the Furthest Thing is an allegorical play set on a remote island populated by English-speakers from all over the world. Dialect experts will have a ball unscrambling the set-up. First we meet Auntie Mill, a white Scotswoman whose husband, Uncle Bill, is a black fisherman with a West Country accent. Their nephew, Francis, is a mixed-race teenager whose verbal mannerisms seem to originate from North Yorkshire. And he has a pregnant girlfriend, Rebecca, who looks east Asian but talks like a Dubliner. This crazy muddle may be a deliberate assault on the entire cult of colour-blind casting. Or it could be a thoughtless embrace of chaos. Either way, it’s baffling to watch. Theatre is all about resemblances and the closer the resemblance, the more successful the play.

PMQs gets ugly over small boats fight

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Small boats could be the issue that swings the next election. Photographs of new arrivals being shuttled from beaches to free hotels is a potent symbol of a government in chaos. A country and its borders are the same thing. If the borders cease to exist, so does the country. Voters grasp this instinctively but the collective mind of parliament has failed to realise it for years. Rishi’s crackdown represents a great opportunity for him and a moral crisis for Labour. Sir Keir Starmer couldn’t find a consistent line at PMQs but he succeeded in exposing the scale of the problem.  Last year, he said, 18,000 newcomers were deemed ineligible for asylum. ‘How many have actually been returned?’ The Labour benches reverberated with finger-wagging murmurs. ‘Ah, mm, yes, good point.

Cumbersome muddle: Women, Beware the Devil, at the Almeida Theatre, reviewed

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Rupert Goold’s new show, Women, Beware the Devil, has great costumes, sumptuous sets and an intriguing chessboard stage like a Vermeer painting. Impressive to look at but that’s where the good news ends. Dramatist Lulu Raczka should have thought twice before writing a script about witchcraft, which was bound to invite comparisons with The Crucible, one of the greatest plays in the theatrical canon. Raczka is no Arthur Miller. She seems to take a dim view of human beings and her writing feels like a vehicle for her vengeful sense of revulsion. Her female characters are mostly skittish, cackling ninnies and her males are lusty, arrogant, predatory monsters. No figure in this play is remotely likeable and no one has a dramatic goal that makes any sense.

Rishi Sunak is starting to enjoy PMQs

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A bad day for daffodils. Hundreds of these little golden trombones were cut down this morning so that our MPs could display their bogus affection for Wales. Honestly, sporting a daff on St David’s Day is like clapping for the NHS – a badge of insincerity. The issue of the moment, the Windsor Framework, barely got a mention at PMQs. Hats off to the marketing genius who coined the phrase ‘Windsor Framework’. Such a cosy, domestic and stylish term. One imagines a pine gazebo by John Lewis or a luxurious summerhouse from Habitat. A place where friends and families can relax forever. To Ulster-watchers, it’s odd that the agreement has been reached with so little acrimony. Usually when a deal is about to be done, the factions boil over with fury. Not this time.

Approaches perfection: Medea, @sohoplace, reviewed

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Winner’s Curse is a hybrid drama by Dan Patterson and Daniel Taub which opens as a lecture by a fictional diplomat, Hugo Leitski (a dinner-jacketed Clive Anderson). Leitski offers to teach us the subtle art of negotiation. An expert diplomat, he explains, must convince each side that they’re the winners in the negotiation and that their opponents have lost. In his youth he helped to broker peace between two Slavic nations, Karvistan and Moldonia, and the action switches from Leitksi’s lecture room to a seedy hotel, the Black Lagoon Lodge, where the peace deal was agreed.

The secret truth about Dom: The Play

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‘Who wrote it?’ asks the Times, of Dom: The Play. I’ll let you in on a secret: it was me. If you’re selling a product, you need to advertise what you’re flogging, rather than its creator. That’s why, when my satire about Dominic Cummings launched at The Other Palace in Victoria this week, I withheld my name from the poster and the programme. Simple reason: my name doesn’t shift tickets. And a poster without the waffle is likely to cut through better. As a result, our poster has the show’s emphatic title in crimson letters beneath three shots of Dom's face taken from different angles. This has a decent chance of attracting the gaze of the fickle and easily distracted public. It’s a split-second opportunity. Shout at them. Grab their attention. ‘Dom the Play.

Small boats are Rishi’s big problem

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Small boats are becoming a big problem for Rishi. Four Tory backbenchers raised the issue at PMQs. Andrew Selous asked about a ‘much-loved’ hotel in his constituency which the Home Office has annexed on behalf of their beloved migrants. Weddings and family parties have been cancelled. Selous, rather ludicrously, asked the PM to ‘redouble his efforts’ to solve the crisis. Let’s look at the maths. Redoubling zero gives you zero. And zero is what Rishi is doing to deter the boats and send new arrivals packing. He confessed as much. The PM is campaigning to please people who loathe him Some time in the future he plans to pass a miraculous new bill aimed at bogus asylum claimants but he has little faith in its effectiveness.

How has it escaped being cancelled? The Lehman Trilogy, at the Gillian Lynne Theatre, reviewed

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Standing at the Sky’s Edge is an ode to a monstrous carbuncle. The atrocity in question is a concrete gulag, Park Hill, built by Sheffield council in the 1960s as a punishment for hard-up locals who couldn’t afford to buy a house. The show is a propaganda effort on behalf of bossy, big-state, high-tax Labour authorities so the smiling residents of the brutalist eyesore keep telling us how much they love their multistorey dungeon. ‘You can see the whole city from up here,’ say the characters, as if no Sheffield resident had ever mounted any of the bluffs or heights that surround the area. The script is honest enough to admit that Park Hill’s secondary purpose is to reduce the city’s population by encouraging depressives to jump from its upper levels.

A sex farce reminiscent of Alan Clark’s diaries: Phaedra, at the Lyttelton Theatre, reviewed

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Simon Stone claims that his new comedy, Phaedra, draws on the work of Euripides, Seneca and Racine. In fact, the porn-mag narrative resembles a passage in Alan Clark’s diaries where the priapic scribbler seduces a mother and daughter in rapid succession. That’s what happens to Sofiane, a homeless Moroccan lecher, aged 41, who has the looks of George Best and the sexy drawl of a Riviera gigolo. He befriends Helen, a senior Labour MP, who shares her picture-perfect London home with her two brattish children and her high-flying husband Hugo, who speaks 15 languages. Helen appears to be starved of sex and male attention, which seems rather improbable for a Westminster insider.

There was nothing funny about PMQs

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PMQs looked like a comedy routine. But there was nothing funny about it. President Zelensky, AKA Uncle Volod, has come to town to address a joint session of both houses. As a warm-up act, MPs behaved like a gang of armchair Rambos and competed to fawn over Uncle Volod while pledging taxpayers’ cash to the defence of his borders. This wasn’t a debate but a scripted event staged to please a leader who appears to have no trouble travelling the world, or welcoming celebs like Boris to his capital, even though he claims to be personally locked in a life-or-death struggle with the largest country in the world. The party leaders sounded identical.‘This terrible conflict must end with the defeat of Vladimir Putin in Ukraine.’ That was Sir Keir Starmer.

Forgettable romcom with an irritating title: Lemons Lemons Lemons Lemons, at the Harold Pinter Theatre, reviewed

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A romcom with an irritating title, Lemons Lemons Lemons Lemons Lemons, has opened at the HP Theatre starring Jenna Coleman and Aidan Turner. Telly addicts will recognise their names. They play two London yuppies, Oliver and Bernadette, who are struggling to communicate properly. Out of nowhere, the state imposes a gruesome new ‘Hush Law’ that forbids citizens from uttering more than 140 words a day. It lasts just 85 minutes and you’ll have forgotten you saw it by the time you get home All kinds of questions arise. Why was the Big Hush introduced? Whose interest does it serve? How is it policed? By overstepping your quota of natter, are you committing a civil or a criminal offence? Why can’t you rely on texts, emails, sign language, Morse Code or semaphore?

Piers Morgan is no match for slick Rishi Sunak

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Gold wallpaper? All gone. That was the first big revelation of Piers Morgan’s interview with Rishi Sunak to mark the PM’s 100th day in No. 10. Every trace of Boris’s trailer-trash décor has been replaced with squeaky-clean white visuals. Piers and Rishi went head-to-head in a characterless kitchen-diner that looked like the show-home of a new-build flat in Milton Keynes. Piers got straight down to business and raised the issue that obsesses the entire nation: himself. He boasted that he’d reached No. 10 long before Rishi when he interviewed Tony Blair many years ago; he recalled that the Blairs had a singing fish nailed to the wall that crooned, ‘Don’t Worry, Be Happy,’ at the touch of a button.  ‘What’s your mantra?’ he asked.

Did Rishi really not know about Zahawi’s tax troubles?

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Necromancy was the main theme at PMQs. The Labour party has realised that Nadhim Zahawi’s resignation has left a gaping hole in their ‘sleazy Tories’ strategy. They badly need him back on stage. Sir Keir Starmer addressed Rishi’s fanciful claim that the rumours about Zahawi’s tax affairs were unknown to him until recent weeks. Sir Keir quoted three daily papers that mentioned Zahawi’s murky financial affairs last July. And he treated Rishi’s denials with blokeish scorn. ‘Oh come on. Anyone picking up a newspaper would have known it.’ Is it credible that Rishi knew less about Zahawi than the media, the whole of parliament and most voters? Rishi mounted a feeble defence and said he’d followed the correct procedures.

These drag queens haven’t a clue how banal their problems are: Sound of the Underground, at the Royal Court, reviewed

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Sound of the Underground is a drag show involving a handful of cross-dressers who spend the opening 15 minutes telling us who they are. Then, rather ominously, they announce: ‘We’ve written a play.’ But they haven’t really. The scene shifts to a kitchen where the drag queens meet to discuss their pay and conditions, and the show turns into an advertisement for their woes. Drag is facing a crisis, we hear, caused by its sudden popularity. Drag queens are in demand from TV bosses and corporate executives but the artistes feel dismayed and traduced by this surfeit of opportunity. They loathe RuPaul, a cross-dresser favoured by the BBC, and they blame him for betraying the true spirit of drag, whatever that may be. One of them calls RuPaul ‘exclusionary’.

Nadhim Zahawi is toast – and PMQs proved it

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God. What a grisly PMQs. Last week, Sir Keir Starmer politicised the case of an NHS patient who died before an ambulance could save her. Today he tried to make a political point about a murder. ‘It’s hard to convey the agony they’ve been through,' he said of a meeting with the victim’s family, 'They say the government has blood on its hands.’ Poor taste. And poor tactics. His real aim today was to destabilise the forgetful minister, Nadhim Zawahi. By using a family’s grief as a warm-up act, he created a gruesomely funereal mood – when he turned to Tory sleaze it seemed stagey and opportunistic.  Rishi Sunak is the wrong man to patronise Zahawi is the keen-as-mustard member for Stratford-upon-Avon who refers to the Bard as, ‘my constituent, William Shakespeare.

Pure, heavenly escapism: The Unfriend, at the Criterion Theatre, reviewed

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The Unfriend is a smart new family comedy which opens on the sunlit deck of a cruise ship. Peter and Debbie, a boring middle-class couple, are introduced to a clingy American tourist, Elsa, who worms her way into their affections. Before they know it, they’ve agreed to let her visit them at home after the cruise. A few weeks later, she shows up unannounced. By now the pair have learned from Google that Elsa is suspected of murdering her husband and several other members of her family. But they’re far too nice, and too English, to tell her to get lost. The crafty Elsa forms an alliance with their angry teenage kids, Rosie and Alex, and uses them to shield her from Peter and Debbie’s suspicions. It’s an amusing set-up and the script just about makes it credible all the way through.

PMQs gets worse every week

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Gruesome rhetoric at PMQs. The horror began with Sir Keir Starmer revealing that he can tell the time. ‘It’s three minutes past twelve,’ he announced. Rowdy Tories immediately demanded to know how soon he’d alter that statement. Sir Keir postulated a medical emergency, a patient suffering from ‘chest pains and fearing a heart attack,’ hoping for an ambulance to arrive within 18 minutes. But when, he asked the Prime Minister, would the vehicle actually show up? Rishi waffled about investing extra cash in this, that and the other part of the NHS.  ‘He’s deflecting,’ said Sir Keir. ‘The clock started ticking straight away,’ meaning 12.03 with the paramedics due to show up at 12.20. ‘So I ask him again. When will that ambulance arrive?

Comes close to perfection: Watch on the Rhine, at the Donmar Warehouse, reviewed

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Watch on the Rhine is the curiously misleading title chosen by Lillian Hellman for a wartime family drama that became a film starring Bette Davis. The location is not Europe but America and the show opens with Fanny Farrelly, a member of the New England gentry, arriving in her sumptuous drawing room for breakfast. The character of Fanny is an instant classic. A crashing snob, a bundle of nerves, a lethally bitchy matriarch, she dominates her household by cultivating favourites and crushing enemies with her venomous tongue. And yet her servants treat her with tolerance and affection. To them she seems a tricky but essentially decent oddball who needs careful handling. When they complain about her behaviour, she graciously accepts their chastisement and apologises for overstepping the mark.

Is Starmer about to finally goad Corbynistas into action?

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New year, new Labour. Sir Keir deployed his latest strategy at PMQS, contrasting the Tory-run NHS with the glorious record of the Labour administration. When his party were in power, he argued, the NHS was such a triumph that hardly anyone used it. There was no need. Doctors’ appointments were available within days. Cancer referrals took no more than two weeks. Waiting lists were a fraction of their current levels, he went on, (although he quietly admitted that 2.3 million people were usually awaiting treatment when Labour ran the system). Again and again he cited his party’s golden age. Labour, Labour, Labour. Marvellous, outstanding, world class. Sir Keir’s lurch to the right is dangerous because it may goad the dormant Corbynistas into action.