Lloyd Evans is The Spectator's sketch-writer and theatre critic
The Black Lives Matter movement has put racial sensitivity at the top of the agenda. A new atmosphere of moral rectitude has taken hold, and anyone who makes a tactless or unwelcome statement about race is likely to be fired. That’s what happened to Jack Hepple after a ‘White Lives Matter’ stunt over Man City’s
The RSC’s 2014 version of Much Ado is breathtaking to look at. Sets, lighting and costumes are exquisitely done, even if the location is not established with absolute clarity. The date is Christmas 1918 and we’re in a stately home that has been converted into a billet, or a hospital, for returning soldiers. The prickly
Rishi Sunak made his summer statement this afternoon. The chancellor is never less than immaculately turned out. Skinny blue suit, coiffed hair, silver-grey tie gathered in a discreet knot, a white shirt that glowed like a snow-capped peak at noon. And he oozed board-room competence. One half expected the lights in the Commons to fall
Nicholas Hytner’s A Midsummer Night’s Dream opens in a world of puritanical austerity. The cast wear sombre black costumes and Oliver Chris, with menacing swagger, brings a note of palpable sadism to the role of Theseus. Then things relax as the ‘mechanicals’ in modern boiler suits prepare to rehearse the play. Hammed Animashaun (Bottom) dominates
Today the prime minister tried out his ‘spoonful of sugar’ routine. Boris has decided that no political problem exists that can’t be solved with a dose of bonhomie, a chorus of ‘build, build, build’, and a £600 billion bung to rocket-boost the economy. This ramshackle strategy was all he brought to PMQs. Against him Sir
The Beeb has released Simon Godwin’s Hamlet staged by the RSC in 2016. The director makes one major change and leaves it at that. Elsinore is transposed to a present-day African republic where members of the ruling clan are jockeying for power after the dictator’s death. This chimes with our understanding of geopolitics and lends
Barristers say there are two types of performers in court. The rhinos use brash, crude, overpowering blows. The snakes are subtle, unpredictable and deadly. Today at PMQs, the two beasts met. Boris came out of the jungle at full charge. ‘I think the honourable gentleman has been stunned by the success of the test and
The longest interval in theatre history continues. Last week the National Theatre livestreamed a 2018 version of The Madness of George III produced by Nottingham Playhouse with Mark Gatiss in the title role. The script, written by Alan Bennett as a response to King Lear, is much easier to like than the original. An engaging
A testy, ill-tempered PMQs. Sir Keir Starmer began by welcoming the anti-viral breakthrough achieved by British scientists. He got an instant slap-down. ‘I’m glad he’s finally paying tribute to the efforts of this country in tackling the coronavirus,’ said Boris, finding Sir Keir guilty of anti-British sentiment. The PM was road-testing a new jingoistic approach
What are the new rules on race and performance? In the world of TV, everyone is busy apologising, self-censoring and denouncing their previous work. Ant and Dec have deleted routines in which they imitated Japanese girls and people of colour. The comedian Leigh Francis has expressed contrition for satirising Craig David in Bo’ Selecta! (which was
The National Theatre’s programme of livestreamed shows continues with the Donmar’s 2014 production of Coriolanus starring Tom Hiddleston. The play is not a favourite. The story concerns a victorious Roman general who accepts the role of consul but when his political career falters he takes revenge by befriending his defeated enemy, Aufidius, and marching on
It’s official. The Labour party now has two leaders. Both are knights. But it’s hard to say which is the real Sir Keir Starmer. Not even Sir Keir Starmer seems to know. Good Sir Keir is the kindly, decent comrade who wants to aid his fellow man at a time of crisis. Wicked Sir Keir
Three faces peered out of the screen. At noon, last Saturday, Facebook hosted a digital debate between a trio of grandees from the Stop the War Coalition. Former Labour leader, Jeremy Corbyn, appeared in a plain white room that matched his open-necked shirt. The novelist Arundhati Roy spoke from Delhi. And the veteran activist, Tariq Ali, began
Sea Wall, by Simon Stephens, is a half-hour monologue about grief performed by Andrew Scott. The YouTube clip has been viewed more than 250,000 times. The habitual quirks and irritants of Stephens’s writing are all here: the inept jokes, the laddish swearing, the fascination with 1970s pop, the preference for males over females and the
A testy, ill-tempered PMQs. Sir Keir Starmer accused Boris of presiding over a corona-shambles. The PM fired back and asked the Labour leader to show ‘signs of co-operation’ with the government’s efforts. Sir Keir was able to cite a ‘sign of co-operation’. A letter written to the PM two weeks ago about helping to reopen
Hats off to the Lawrence Batley Theatre for producing a brand-new full-length show on-line. Stephen Fry, with avuncular fruitiness, narrates a dramatisation of David Nicholls’s novel The Understudy, published in 2005. It’s a back-stage comedy about a newly written sex romp inspired by the life of Lord Byron. The show, predictably enough, is entitled, Mad,
The world’s greatest playwright ought to be dynamite at the movies. But it’s notoriously hard to turn a profit from a Shakespearean adaptation because film-goers want to be entertained, not anointed with the chrism of high art. Macbeth is one of the texts that frequently attracts directors. Justin Kurzel’s 2015 version (Amazon Prime) didn’t triumph
It has come down to a classroom contest. The swot versus the wag. The smart Alec against the rugger captain. The chemistry nerd who wants to join the cool kids behind the bike-sheds. Sir Keir has been praised for his ‘forensic’ attacks on Boris at PMQs. What is ‘forensic’? ‘Forum’ means a market-place and later
The National’s bizarre livestreaming service continues. On 7 May, for one week only, it released a modern-dress version of Antony and Cleopatra set in a series of strategy rooms, conference centres and five-star hotel suites. The lovestruck Roman was played by a louche, gruff, brooding Ralph Fiennes. Why is this man so watchable? He lacks
Keir Starmer is a very rum package. His body and his manner seem to belong to different organisms. His physique is martial, sturdy, invincible. The square jaw, the trunk-like neck, the unsettlingly symmetrical face, the blue but eerily lifeless eyes. But his personality has no trace of manliness at all. He seems grannyish, nervy, over-delicate,
