Lloyd Evans is The Spectator's sketch-writer and theatre critic
What is the Edinburgh Fringe? It’s a sabbatical, a pit stop, a pause-and-check-the-map opportunity for actors who don’t quite know where to go next. Alison Skilbeck has written a ‘serio-comic celebration’ of Shakespeare and her performance attracts a decent crowd for a show that starts at noon. She plays a fruity-voiced thesp, Artemis Turret, who
‘Some wine? How about a beer? Shall we settle into a good old pub?’ I make these suggestions to Ukip’s interim leader, Steve Crowther, as we meet in central London, but he opts for a quiet bistro where he orders a cup of tea. He has a dapper suit, a ruddy, forceful face and a
‘Some wine? How about a beer? Shall we settle into a good old pub?’ I make these suggestions to Ukip’s interim leader, Steve Crowther, as we meet in central London, but he opts for a quiet bistro where he orders a cup of tea. He has a dapper suit, a ruddy, forceful face and a
Conor McPherson’s new play is set in dust-bowl Minnesota in 1934. We’re in a fly-blown boarding house owned by skint, kindly Nick who has designs on a sexy widow with a big inheritance coming. Good opening. Roll the story. But there’s more. Nick’s useless son is a depressed novelist entangled with a beautiful governess betrothed
The Edinburgh Festival was founded as a response to war. The inaugural event, held in 1947, was the brainchild of Rudolf Bing, the manager of Glyndebourne Opera, and Henry Harvey Wood, a British Council grandee. Both were convinced that a festival of music and theatre was needed to restore the artistic heritage of Europe after
Oliver Cotton is an RSC stalwart who looks like a man born to greatness. Google him. He has the fearless jawline of Napoleon, the diabolical stare of Heathcliff, the tumultuous eyebrows of Michelangelo and the streamlined quiff of Liberace. And there’s something richly corny about his appearance too, as if he were Bill Nighy done
The RSC’s summer blockbuster is about Queen Anne. It’s called Queen Anne. It opens at the Inns of Court where drunken wags are satirising the royals with a naughty sketch about boobs and beer guts. Everyone on stage pretended this was hilarious. A few audience members did too, out of politeness. The principal characters arrive
Tories are worried. The holiday season is here. And the last time their leader took a break – in Snowdonia – she came back with a brilliant plan to replace her comfortable majority with a coalition of rudderless squabblers. She seemed aware of this today and her costume exuded Tory vitality. She was power-dressed in
Shubbak, meaning ‘window’ in Arabic, is a biennial festival taking place in various venues across London. The brochure reads like an A to Z of human misery. All the tired phrases from the Middle East’s history lurch up and poke the onlooker in the eye: ‘revolution’, ‘dystopia’, ‘cries of pain’, ‘ruins’, ‘waking nightmare’. The agony
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
