Lloyd Evans is The Spectator's sketch-writer and theatre critic
Mrs May couldn’t make PMQs today. She was lunching with royalty up at the Palace. The happy atmosphere of the event may have been affected by territorial anxieties. The Queen’s principal guest, King Felipe VI, reigns over important parts of the Spanish mainland but not the pointy little bit down at the bottom which is
The Vaults at Waterloo are gallantly trying to pose as the party spot for hipsters in the world’s coolest city. Brickwork alone may frustrate this goal. The venue is half-buried in a warren of arches beneath the western approaches to the terminus. The foyer is scruffy, poorly lit, and its dank air is scented with
It was better from Theresa May today. She was combative, prickly and forceful at PMQs. The ship is moving on a steadier course. And two toxic enemies have returned to the fold. In the days following the election, both Anna Soubry and Nicky Morgan were ‘helpfully’ suggesting a possible timetable for Mrs May’s departure. Today
Hand it to the Americans. They know how to hype a young talent to death. The latest to be asphyxiated by the literary establishment is Branden Jacobs-Jenkins. He’s written six off-Broadway plays (one adapted from a script by Boucicault), and won a ton of awards and prize money. Most of the English ‘critics’, if one
It was the first PMQs since Mrs May crawled triumphantly back into Downing Street after her humiliating victory in the general election. She has brilliantly disposed of her cumbersome Commons majority – always a drawback to a statesman – and replaced it with a thrillingly unstable parliament and a government characterised by its ruthless indecision
Anatomy of a Suicide looks at three generations of women in various phases of mental collapse. They line up on a stage that resembles a grey dungeon while sad events unfold around them. The first woman gets pregnant. The second takes heroin. The third argues with a lesbian about a fish. Their lives span several
The National Theatre could hardly resist Barber Shop Chronicles. The play shines a light on a disregarded ethnic community, black urban males, who like to hang around in barber salons seeking friendship, laughs and tittle-tattle. Setting the play in a single venue would just be a sitcom, like Desmond’s, so the show establishes a series
Sand in the Sandwiches is the perfect show for those who feel the West End should be an intellectual funfair. It sets out to amuse, surprise, divert, uplift and nothing more. Edward Fox’s biographical portrait of John Betjeman has a smattering of his most famous poems ingeniously woven into the narrative. Fox knows his stuff.
Georg Büchner, a justly neglected German playwright, died at the age of 23 leaving a half-finished script about a mad soldier and his cheating girlfriend. This relic has fascinated dramatists ever since because Büchner is regarded as a visionary left-wing artist cruelly stolen before his time. (Not a moment too soon, if you ask me.)
It started with a fib. Jeremy Corbyn endured a trial-by-sofa on BBC One last night and he was asked if there were ‘boys jobs’ and ‘girls jobs’ in his household. He shook his head. Which is a total porkie. He’d parked his missus at home while he answered questions on prime-time television. A clear division
The Olivier describes Salomé by Yaël Farber as a ‘new’ play. Not quite. It premièred in Washington a couple of years ago. And I bet Farber was thrilled at the chance to direct this revival at the National’s biggest and best equipped stage. She approaches the Olivier’s effects department like a pyromaniac in a firework
Jez Butterworth’s new play The Ferryman is set in Armagh in 1981. Quinn, a former terrorist, has swapped the armed struggle for a farming career and now lives with his sick wife, their countless kids, his sister-in-law and her only son. But the IRA, who murdered his brother as punishment for his disloyalty, are due
Obsession at the Barbican has a complicated provenance. The experimental Belgian director Ivo van Hove adapted the show from a Visconti film based on the novel The Postman Always Rings Twice. This version originated in Amsterdam and was rendered into English by a London playwright. The story mixes surrealism with torrid carnality. Sexy Hannah is
How was last night’s TV squirm-athon? The sacrificial victims handled it pretty well, at first. Theresa May and her unknown husband, Philip, were roasted live on a BBC sofa. The idea, presumably, was to make them seem relaxed, normal, unexciting, not too posh, at ease with themselves and, above all, genuine. Dull Phil sported a
Left-wing groupie Paul Mason has written a costume drama about the suppression of the Paris commune in 1871. We meet Louise Michel and her all-female gang of arsonists as they’re carted off to jail for setting fire to the Tuileries. After a harsh stint in the cells, they’re shipped out to the French colony of
Christopher Hampton’s 1968 play The Philanthropist examines the romantic travails of Philip, a cerebral university philologist, forced to choose between his unexciting fiancée and a predatory seductress. The play’s opening scene contains one of the most brilliant comic shocks in all drama. And the paradoxes and flashes of Hamptonian wit are an everlasting treat. ‘I’m
There was astonishment at the start of PMQs as Michael Fabricant’s wig flew up into the air. Fortunately its owner was rising to speak at the same time so no embarrassment was suffered. John Bercow indulged the house in this last session before the election and let MPs give speeches rather than ask questions. The
Even the Bard’s staunchest fans admit that ‘Shakespeare comedy’ may be an oxymoron. That’s the assumption of the touring company Shit-Faced Shakespeare, which produces the plays as adventures in boozy slapstick. The audience is encouraged to swig along too. I saw their hooch-assisted Much Ado. The colourful costumes looked a bit am-dram, perhaps deliberately, and
Just seven weeks till Jezza-geddon. The Labour leader seemed to anticipate his political extinction with a dead-sheep performance at PMQs. Poor Corbo. He’s never shaken off the air of Speakers’ Corner. He belongs outdoors, with a step-ladder and a bull-horn, ranting away at tourists and pigeons. Today he was faced with a carefully drilled Tory
It’s like Raging Bull. The great Scorsese movie asks if a professional boxer can exclude violence from his family life. Nina Raine’s new play Consent puts the same question to criminal barristers. We meet four lawyers engaged in cases of varying unpleasantness who like to share a drink after a long day in court. They
