Lloyd Evans is The Spectator's sketch-writer and theatre critic
Bad Jews has completed its long trek from a smallish out-of-town venue to a full-scale West End berth. Billed as a ‘hilarious’ family comedy it opens on a low-key note in a New York apartment where three cousins have gathered for grandpa’s funeral. Daphna is a puritanical vegan Jewess, training as a rabbi, who wants
Quite a hit factory these days, the Hampstead Theatre. The latest candidate for West End glory is Hugh Whitemore’s bio-drama about Stevie Smith. Not an obvious choice. The script, from the 1970s, recreates the atmosphere of Stevie’s life with effortless accuracy. Her vocabulary, her taste in clothes, her habits of thought and expression appear by
Cameron expected to walk into a firestorm of mockery at PMQs following his retirement bombshell. Quitter. Lame duck. Get yer pipe-‘n’-slippers. But barely an audible jibe was flung from the Labour benches. The Tories on the other hand greeted Ed Miliband with a roar that scared the pigeons in Parliament Square. Miliband and his superwonks
I came out in a rash when I heard that Emma Thompson was to star in Stephen Sondheim’s Sweeney Todd at the Coliseum. Sondheim has that effect on me. And it’s an allergy I bear with pride. I’ve been the victim of a Sondheim evening only once in my life and I emerged feeling as
Philip Ridley is best known as the screenwriter of The Krays, in which Gary and Martin Kemp played Ronnie and Reggie as a pair of tanned and lisping choirboys. Ridley loves to bang his own gong. And he’s got enough gongs to raise quite a racket. The Smarties Prize, the W.H. Smith Mind-Boggling Book Award,
That was a motto-blaster of a budget. George Osborne deployed half a dozen chewy new Tory slogans during this afternoon’s statement. ‘Britain walking tall again. … a country built on savings not debt … ten pounds off a tank under the Tories … Britain – the comeback country …’ It’s unclear whether: a) Lynton Crosby
One of last year’s unexpected treasures was a novelty show by Defibrillator that took three neglected Tennessee Williams plays, all set in hotel rooms, and staged them in suites at a five-star dosshouse in central London. The Langham Hotel, an antique hulk of marble and glass overlooking Broadcasting House, is justly proud of its raffish
Was this the day Ed Miliband lost the election? Only two PMQs remain before polling day and the Labour leader used all six questions to ask David Cameron one thing: when might he ask him more questions? Nothing on policy. Nothing on convictions. Just questions about questions. He meant questions outside the House, of course.
When I was a kid, I was taught by a kindly old Jesuit whose youth had been beguiled by George Bernard Shaw. The provocative ironies of ‘GBS’ were quoted everywhere and he was, for several decades, the world’s leading public intellectual. But as a schoolboy I found it hard to assent to the infatuations of
Dodge and shimmy. Duck and weave. Cameron was at it again today. Ed Miliband asked if he’d care to join him for a spot of cut and thrust on TV. One to one. He had a date, 30 April, pencilled in for the gig. Kettle crisps and a glass of merlot on the PM’s rider.
Torben Betts is much admired by his near-namesake Quentin Letts for socking it to London trendies. Letts is one of the few individuals who enjoys the twin blessings of a Critics’ Circle membership card and a functioning brain so his views deserve serious attention. The title of Betts’s 2012 play Muswell Hill shifts its target
That was a close one. Miliband set two traps for the PM today. One was visible. The other, far more dangerous, was hidden until the very last moment. Miliband wants Tories to vote against a bill that will forbid serving MPs from acting as company directors. This connects sweetly with his ‘Thatcherite swine gobbling at
‘We hate the system and we want the system to pay us to say we hate the system.’ The oratorio of subsidised theatre rises, in triumphant blast, at the Royal Court whose current empress Vicky Featherstone has chosen to direct an interesting new play by Zinnie Harris. I’d call it a quasi-symbolist extraterrestrial tragicomic chicklit
New venue. New enticement. In the undercroft of a vast but disregarded Bloomsbury church nestles the Museum of Comedy. The below-stairs space wears the heavy oaken lineaments of Victorian piety but the flagstones have been smothered with prim suburban carpeting, wall-to-wall. There’s a bar in one corner. Yes, a bar in a church. With prices
The Swiss list, or swizz list, dominated PMQs. Ed Miliband was keen to paint Cameron as the beneficiary of ‘dodgy’ donors who craftily side-stepped their tax bills and funnelled the proceeds back to Tory HQ. The stink also enveloped Stephen Green, given a peerage by Cameron, who ran HSBC at a time when it helped
Big event. A new play from Sir Tom. And he tackles one of philosophy’s oldest and crunchiest issues, which varsity thinkers call ‘the hard problem’. How is it that a wrinkled three-pound blancmange sitting at the top of the spinal cord can generate abstract thoughts of almost limitless complexity? In real life Sir Tom is
How did he get away with that? We’re assured that somewhere inside Labour HQ there toils a crack team of sleuths, analysts, Cameron-watchers, policy-fetishists and high-IQ saboteurs who spend all week devising Miliband’s Wednesday assault on the prime minister. And yet these world-class strategists seem to get beaten every time by the most predictable of
Gay plays crowd the theatrical canon. There are the necessary enigmas of Noël Coward, like The Vortex or Design For Living, which are slyly aimed at an audience of knowing code-breakers. There are the proud, defiant (and rather tedious) pleas for understanding like La Cage Aux Folles. And the gayest of them all, My Night
Last week it was seven. This morning it stood at nine. By the end of PMQs it had climbed to 12. The statistic everyone is yawning about is the number of shimmies Ed Miliband has performed while failing to admit that he once vowed to ‘weaponise’ the NHS. The only source for Ed’s gangster talk,
A knockout show at the Young Vic. Literally. The stage has been reconfigured as a boxing ring to make Mike Bartlett’s play, Bull, feel like a sporting fixture. This is a common conceit, even a cliché, but here it’s done superbly. The auditorium floor is squash-club yellow and the stage is surrounded by a casual
