Lloyd Evans is The Spectator's sketch-writer and theatre critic
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
I meet Bernard-Henri Lévy in a colossally luxurious hotel on a tree-lined avenue just behind the Elysée Palace. The French philosopher is half-reclining on a sofa, with one ankle tucked under his thigh, beneath an ornamental bookcase bearing a bust of Voltaire. He wants to discuss his new play, Last Exit Before Brexit, which will
The Bridge’s big summer show is Nightfall by prize-winning newcomer Barney Norris. Widowed Jenny wants her grown-up kids, Lou and Ryan, to help her run their farm in Hampshire following their dad’s death. But Lou’s boyfriend, Pete, has been offered work abroad. That’s the only major snag in this low-wattage rustic melodrama. The back story
PMQs began with a question about obesity from Labour’s Kerry McCarthy. The crisis has reached breaking-point, she said. Our chubby 11-year-olds are now even chubbier than America’s chubby 11-year-olds. ‘The voluntary approach simply won’t work,’ she said. Her colleagues, crushed and squeezed together, bore out the truth of this statement. ‘The voluntary approach,’ (or ‘turning down
Describe the Night opens in Poland in 1920 where two Russian soldiers, Isaac and Nikolai, discuss truth and falsehood. Next we’re in Smolensk, 2010, where some strangers scream at each other about a hire car. Next Moscow, 1931 (or 1937 — the surtitles are illegible), where Nikolai, now a top soldier, asks Isaac, now a
He’s making the most of it before he gets the push. The Speaker chaired one of the longest-ever sessions of PMQs today. It lasted nearly an hour. He opened proceedings with a ceremonial speech welcoming a handful of visitors to the chamber. They thought they’d come to watch parliament but Bercow knew better. They were
Nine Night refers to a Jamaican custom that obliges bereaved families to party non-stop for more than a week following the death of a parent. When Gloria expires her relatives arrive from all parts of London and the Caribbean to indulge in a boozy blow-out. Gloria’s daughter Lorraine tussles with her businessman brother, Robert, who
More trouble for the Speaker today. It’s becoming clear that John Bercow is not just unpopular but unlucky as well. He skipped PMQs to attend the funeral of his predecessor, Michael Martin, who was ousted by a mutiny in 2009. Newer members, perhaps believing that insurrection is the correct way to eject an unwanted speaker,
Ella Hickson’s last play at the Almeida was a sketch show about oil. Her new effort uses the same episodic format ornamented with ‘meta-textual experimentation’ (i.e. plotless confusion). The central character is a brilliant young female writer who finds that all male theatre directors are boorish cynical greedy philistine racist sex pests. In Sketch One
It was a masterclass in capitulation, a stunning act of self-slaughter. And yet, in a way, it was pitifully inept. At PMQs, Corbyn behaved like a quicksand victim who sucks in his breath in order to speed his descent. May arrived at the House in trouble. Her Home Secretary has resigned and the PM has
‘Hunt the Flop’, the Royal Court’s bizarre quest for dud plays, has found a candidate for this year’s overall prize. Instructions for Correct Assembly by Thomas Eccleshare is a family satire set in the near future. Plot: suburban parents replace their missing son with a computerised cyborg which malfunctions. That’s it. Were this a pitch
The royal nativity opened proceedings at PMQs. Mrs May sounded thrilled about the newborn nipper but the Labour leader could barely conceal his ill-temper. Mr Corbyn slouched at the despatch box and forced a muttered tribute to ‘their baby’ out of the side of his mouth. He sounded like a man who’s just twisted his
Quiz by James Graham looks at the failed attempt in 2001 to swindle a million quid from an ITV game show. Jackpot winner Major Charles Ingram was thought to have been helped by strategic coughs emanating from Tecwen Whittock, a fellow contestant on Who Wants to Be a Millionaire? Graham, best known for his gripping
Would she resign over Windrush? Having spent nearly eight years at the heart of government, Theresa May was clearly deeply involved in the scandal, and as PMQs began she seemed nervous and ill-at-ease. Lispy almost. She started on safe ground by thanking the Windrush generation for their ‘massive contribution’ to modern Britain. Then she garbled Windrush
David Haig’s play Pressure looks at the Scottish meteorologist, James Stagg, who advised Eisenhower about the weather in the week before D-Day. The play works by detaching us from our foreknowledge of events. We’re aware that the landings went off smoothly on 6 June in fine conditions. However, D-Day was originally scheduled for 5 June,
Oh my goodness. Quentin Letts is ‘a racist’ apparently . It says so on Twitter. In his review of the RSC’s The Fantastic Follies of Mrs Rich he referred to the quality of Leo Wringer’s performance and asked, ‘Was Mr Wringer cast because he is black?’ The RSC’s top brass assembled in full muster and
Ruthless! The Musical is a camp extravaganza about ambitious actors stranded in small-town America. Sylvia St Croix, a pushy agent, visits a super-talented 10-year-old, Tina, and persuades her to audition for Pippi Longstocking in a school play. Tina’s mother fears that stardom may spoil her little girl but Tina is finished with childhood. ‘Time to
Poor Jeremy Corbyn seemed muted and cowed at PMQs. He stooped over the despatch box, his chin down, his voice murmuring like a trapped bluebottle, his stature loose and uncertain. He grizzled through his six questions without a trace of passion or conviction. He couldn’t even whip himself into his trademark strimmer-call of petulant outrage. Is
The Plough and the Stars by Sean O’Casey looks at the Irish nationalist movement during the events of Easter 1916. The setting is a Dublin tenement where the residents exchange gossip and insults and sometimes punches. What begins as an elevated soap opera develops into a tragedy of vast and harrowing proportions. Sean Holmes’s production