Lloyd Evans is The Spectator's sketch-writer and theatre critic
Would it take much to turn Philip Hammond into Dracula? He’s got the gaunt bearing, the unsettling gaze, the greedy overbite and the louring stature of the blood-sucking count. Add an opera cape and a dab of mascara and the costume would be complete. So it’s strange to see this vampiric figure delivering a budget
It’s every impresario’s dream. Buy a little off-West End venue to try out stuff for fun. Andrew Lloyd Webber has snaffled up the St James Theatre (rebranded The Other Palace), which he intends to run as a warm-up track for new musicals. First off the blocks The Wild Party, a New York import set in
Got a daff pinned to your lapel? I haven’t. St David’s Day caused a predictable outbreak of Taffy-fondling in the House. Little yellow flowers winked gamely from the suits of several MPs, though many seem to be about as Welsh as Bombay Duck. What good is served by this annual flashing of custard-coloured flora? A
What does it take to become a prostitute? Youth, beauty, courage, sexual allure, a love of money, a need for hard drugs, an addiction to risk? None of these, according to this fascinating show written and performed by London sex workers. What prostitutes need is the right mindset: humane, adaptable, tolerant, altruistic. Sex work is
The so-called leader of the so-called opposition gave another so-called performance today. Jeremy Corbyn seems to have challenged the Labour party to a slalom race. Target: rock bottom. Go Corbo! his enemies cheer as they watch his hapless figure slithering and shimmying down the ice-floes of public contempt. Today he came to the Commons with
Sandi Toksvig’s new play opens in a Gravesend care home where five grannies and a temporary nurse are threatened by rising floodwaters. In Act One the ladies prepare for a rescue party that fails to materialise. In Act Two they build a life raft out of plastic bottles. There’s a bizarre sequence involving a silly
Tennessee Williams’s breakthrough play is a portrait of his dysfunctional family. A young writer, Tom (Williams’s real name), lives with his effusively domineering mother and his painfully coy sister, Laura. Mother, once a famous beauty, gets Tom to find an eligible chap for Laura. Tough call. Beautiful Laura has a deformed ankle and she’s just
How to sabotage a deadly ambush. This was Jeremy Corbyn’s contribution to the political play-book today. He came to Parliament lethally armed. A cache of secret messages apparently between a Government wonk and the leader of Surrey County Council suggest some very shady goings-on. Mr Corbyn’s task was simple. Read out the intercepts and watch
It could be the nuttiest idea ever. The protagonist of this American musical is Death, who secretly reprieves a beautiful Italian princess, Grazia, and spends the weekend at her father’s palace where a house party is in full swing. The dad knows the gatecrasher’s identity. But Death introduces himself to the others as a suave
Mrs May has spent the week meeting naughty presidents. Today she was made to pay for it. Parliamentarians were queuing up to scold her for missing a great opportunity to bleat, pout, whine and nag on the world stage. She’s been to America where she failed to lecture Donald Trump on his meanness to Muslims and
David Spicer’s farce Raising Martha opens with a skeleton being disinterred on a frog farm by animal-rights activists. They hope to force the frog farmer, an ageing dope fiend, to set his amphibious livestock free. Got all that? It’s complicated. And there’s more. The skeleton turns out to be the long-dead mother of the farmer,
Mr Corbyn has spent a week shuddering at goblins that don’t exist. At least outside his head. But he wants his posse of demons to exist in our heads too. So he keeps conjuring them up. He says Mrs May is about to turn Britain into ‘an offshore tax haven.’ Being a Puritan he hasn’t
The Kite Runner, a novel by Khaled Hosseini, has sold more than 30 million copies worldwide. Now it arrives on the West End stage, a doggedly efficient piece that somehow lacks true dazzle. The narrative style involves thick wodges of plot being delivered at the audience like news bulletins on the half-hour. The emotional range
Poor grey sad Mr Corbyn. So angry. So useless. And so weird as a visual spectacle. His sharp-featured head looks, from a certain viewpoint, like an anvil pebble-dashed with porridge oats. But guess what? Today he scored a victory against Mrs May. And guess what? He blew it. First he revealed his team’s latest attempt
God, what a dusty old chatterbox Schiller is. Like Bernard Shaw, he can’t put a character on stage without churning out endless screeds of cerebral rhetoric. But unlike Shaw, he has no sense of humour, nor any instinct for the quirks and grace notes that create a personality. Mary Stuart is a psychological drama with
‘Nice to get such a warm welcome,’ said Jeremy Corbyn as jeers and hoots greeted him at PMQs. Ironic applause, as Corbyn knows. His enemies love him and his colleagues can’t stand him. ‘And a happy new year,’ he added. He could do with one of those himself. Yesterday, even before the dawn had broken,
Hedda Gabler is one of the most influential plays ever written. It not merely illuminated an injustice, the enslavement of women within marriage, it fomented the revolutionary achievements of feminism. It deserves to be done as Ibsen intended. This updated version from Ivo van Hove locates Hedda in one of those posh urban dream homes
Buried Child is a typical Sam Shepard play. The main character, Dodge, is a brain-damaged alcoholic cripple stuck in a Midwest shack with a half-witted xenophobic wife shrieking at him from the coal cellar. The wife makes an early speech about her son who ‘married a Catholic whore’ and got stabbed to death by her
Corbyn’s improvement continues. He thumped away at a single issue today – social care – in a determined attempt to corner Teresa May and stick the word ‘crisis’ on her jacket, like a brooch. A crisis for the elderly, he said. A crisis for families. A crisis for the NHS. ‘A crisis made in Downing
What if? is the engine of every great story. What if the toys came to life when their owner left the room? What if the prince’s uncle killed the king, seduced the queen, and stole the crown? Lucy Kirkwood asks: what if an elderly atomic physicist volunteered to take charge of the team decommissioning a
