Lloyd Evans is The Spectator's sketch-writer and theatre critic
Trump Lear is a chaotically enjoyable one-man show with a complicated premise. David Carl, an American satirist, has arrived on stage to perform King Lear when Donald Trump’s voice interrupts him from the wings. The President threatens to kill him unless he delivers an accessible version of the Shakespeare classic ‘that isn’t boring’. With improvised
Gandalf, also known as Ian McKellen, has awarded himself another lap of honour by bringing King Lear back to London. Jonathan Munby directs. His eccentric decision to hire actors who don’t resemble their characters will baffle anyone who hasn’t studied the play in advance. The casting may be ‘colour-blind’, but the audience isn’t. Anita-Joy Uwajeh
Alan Bennett’s new play, Allelujah!, is an NHS drama set in a friendly hospital in rural Yorkshire. Colin, an ambitious local boy turned metropolitan yuppie, has arrived from London to visit his sick father and he takes the opportunity to assess the efficiency of the hospital on behalf of his bosses at the health department
‘I’m an amateur,’ Barry Humphries tells me. The Australian polymath uses the word in its older sense of ‘enthusiast’ rather than ‘bungler’ and he feels no need to point out the distinction. He’s in London to perform a three-week residency at the Barbican — Barry Humphries’ Weimar Cabaret — with his fellow Australian Melissa Madden
Stefano Massini’s play opens with a man in a frock-coat reaching New York after six weeks at sea. The year is 1844 and young Henry Lehman has just emigrated from Bavaria to make his fortune. He started modestly with a general store in Montgomery, Alabama, serving local farmers. When wildfires destroyed the cotton crop on
There is something horrible and unnatural about seeing Theresa May in trouble. Her aloof and grandmotherly face becomes a canvas on which all kinds of dreadful emotions are drawn. It’s almost too much to watch, really, it’s like seeing Miss Marple on a shoplifting charge. She arrived early at PMQs with a gravestone pallor. It
Usually it starts at McDonald’s. When protestors gather in central London they like to vandalise the burger chain’s Whitehall branch in honour of rioters who trashed the place on May Day, 2000. Today the anti-Trump crowd overlooked this historic site and converged on a nearby pub, the Silver Cross, where a handful of pro-Trump Brits
The Lieutenant of Inishmore is a knockabout farce set during the Troubles. Like Monty Python’s dead parrot sketch it uses the expiry of a pet to examine human obsessiveness and self-delusion. But it takes two hours rather than three minutes to make its point. We meet a handsome terrorist, Padraic (Aidan Turner), whose adoration of
The busy Speaker has made two new friends this week. He interrupted PMQs to introduce them to the house. ‘We’re very fortunate,’ he simpered, ‘to be joined in the public gallery by two members of the Osmond family. Jay and Merrill Osmond.’ The Osmonds were five luxuriantly coiffured brothers whose pop success in the 1970s
Listen to the crowd. I often delay passing judgment on a show until the audience delivers its verdict. This is especially true of plays that appeal primarily to women. Genesis Inc. by Jemma Kennedy presents us with two infertile mums. Serena is a clingy worrier whose aloof boyfriend, Jeff, resents forking out thousands for IVF.
The Speaker continues to use PMQs as a sort of rolling news platform where his millions of fans can catch up on all his latest activities. As a devoted Berc-oholic, I was delighted to learn this afternoon that my hero has made a new friend. Two friends in fact. He delivered the announcement early in
Intriguing word, ‘octoroon’. Does it mean an eight-sided almond-flavoured cakelet? No, it’s a person whose ancestry is one eighth black. New Yorker Branden Jacobs-Jenkins wants to explore this factoid in his farce An Octoroon, which opens with an angry African-American playwright delivering a comic monologue. He tells us a story about ‘my shrink’. Then he
Some of Britain’s top Berc-ologists met recently to discuss a letter sent by John Bercow to MPs nearly a decade ago. He was advertising his suitability as a successor to Speaker Martin and he promised to serve ‘no more than nine years in total,’ if he were to win the election on June 22 2009.
Polly Stenham starts her overhaul of Strindberg’s Miss Julie with the title. She gives the ‘Miss’ a miss and calls it Julie. The wonder of Strindberg is that his characters speak to us with such force, knowingness and candour that they seem to belong to our own era. Modernising the setting destroys the wonder. This
I blame Bercow. The Speaker has introduced a strange new custom to the Commons. He likes to point out his guests in the public gallery and to encourage MPs to join him in saluting them. Now everyone’s at it. Before today’s session Jeremy Corbyn had bagged himself an imam from a north London mosque and
The National has made its largest stage available to one of the nation’s smallest talents. If Brian Friel had been born in Dorset rather than in Co. Tyrone he’d have enjoyed an unremarkable career writing episodes of The Archers with the odd stint on Emmer-dale. He’s a champion witterer whose plays lack suspense, pace, depth
Jeremy Corbyn had one of his best PMQs ever. Then it all went wrong. His witty use of Boris’s recent tape-recorded solecisms went down very well in the chamber. The evening news would surely have celebrated Mr Corbyn’s deftness at the despatch box. But he was undone by the publicity-burglar, Ian Blackford. The SNP leader
Tracy Letts begins his trailer-trash comedy Killer Joe with the corniest of platitudes. A runaway druggie named Chris Smith needs $6,000 to stop ‘some guys’ from killing him. He asks his dad who declares himself skint but together they plot to bump off Mrs Smith, Chris’s mum, and collect her life insurance. Interesting idea. Luckily
Odd sights at PMQs today. Theresa May wore a dark blue outfit covered in an outbreak of Pollock-esque dots, as if she’d just arrived from a paintballing contest. Jeremy Corbyn looked angry, knackered and distressed. His scarlet tie was all askew and his eyes appeared shadowed and hollow. Why so fatigued? Yesterday he was in
Regime change at the Globe. The new boss, Michelle Terry, wants a 50/50 ratio of males to females in each production. Rather eccentric. Why cast a drama to reflect the distribution of sexual organs across the general populace? Imagine hiring an orchestra to represent the ratio of citizens who can play an instrument. And didn’t
