Lloyd Evans is The Spectator's sketch-writer and theatre critic
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One of the challenges of art is to know the difference between innovation and error. I wonder sometimes if the Royal Court realises such a confusion can arise. Its new production, RoosevElvis, has been hailed as a thesaurus of fascinating novelties but to me it looks like a classic case of ineptitude posing as originality.
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What is Glyndebourne? A middle-aged Bullingdon. That’s a common view: a luxury bun fight for past-it toffs who glug champagne, wolf down salmon rolls and pass out decorously on the lawn. But the reality is that it caters to those of my class (lower-middle) who want to boost their pedigree with an eye-catching essay in
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‘It’s getting longer and longer,’ grumped David Cameron at PMQs. A microphone picked up the aside as the session over-ran by 10 minutes. Why the delay? First, the Speaker. He’s keen to give as many backbenchers as possible a chance to pass unrecognised on national TV. Secondly, he adores the limelight himself. At the slightest
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Here are three truths about play-writing. A script without an interval will be structurally flawed. A vague, whimsical title means a vague, whimsical drama. And a play about Alzheimer’s will self-destruct for the obvious reason that drama is an examination of character while Alzheimer’s is an effacement of character, so the paint evaporates before it
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The RSC’s The Wars of the Roses solves a peculiar literary problem. Shakespeare’s earliest history plays are entitled Henry VI parts (I), (II) and (III), which is thought to put people off. If you see one why not see all? If you miss the opener will the sequels confuse you? The solution is to condense
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Tom Watson, the man who hated Brittan, appeared before the Home Affairs committee this afternoon. In earlier evidence it became clear that the Met was divided on the rape allegations against the late Lord Brittan. Detective Chief Inspector Settle said that to subject him to an interview under caution would have constituted ‘a baseless witch-hunt’.
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The Father, set in a swish Paris apartment, has a beautifully spare and elegant set. The stage is framed by a slender rectangle of dazzling white dots which impart an air of incalculable and almost intimidating opulence to the show. I felt I was lucky to be there. Here’s the plot. Kenneth Cranham plays a
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Corbyn’s PMQ’s strategy is now clear. Hopeful emailers send their lifestyle details to Labour HQ and a computer sifts the figures to find the voter likeliest to cause the prime minister’s cheeks to blush purple with shame. Today’s lucky winner was Kelly, (no surname given), a single mum on £7.20 per hour who works for
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Philippe V was a Bourbon prince who secured the throne of Spain using his family connections. Claire van Kampen is a writer who relied on the same method to secure a West End opening for her play about Philippe. It stars Mark van Kampen (aka Mark Rylance) as the charmingly dotty Frenchman. Philippe was a
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This was Cameron’s ‘greatest’ speech ever if you count his uses of the g-word. Great Britain, great schools, great traditions, a great Conservative party, the greatest team a prime minister could have. Greater days. Greater Britain. Stepping stones to greatness. He mentioned the election with a gooey tinge of Gift Card Dave. ‘As dawn rose, a
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Samuel Foote (1720–77) was a star of the 18th-century stage who avoided the censors by extemporising his performances. Today we’d call him a stand-up comedian specialising in improv. He served tea to play-goers and claimed that the show was a free accompaniment to the beverages. Dogged by homosexual scandals, he was hounded out of England
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He looked bored. He looked dishevelled. His half-knotted crimson tie sagged disconsolately beneath his bearded throat. The drab jacket seemed as beige as ever. Corbyn spoke to the Labour conference looking like an embarrassed scout-master thanking his colleagues for a surprise party he didn’t want. ‘Any chance we could start the speech?’ he asked as
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Michael Grandage’s latest show is about an old snap. Geneticists regard the X-ray of the hydrated ‘B’ form of DNA as one of the loveliest images ever captured. To laymen it looks like some woodlice drowning in yesterday’s porridge. The pic was taken in 1951 by the British biochemist Dr Rosalind Franklin but she failed
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To examine an ancient text requires an understanding of the ancient imagination. The Oresteia is set in a primitive world where people believed that every animal, tree, stone, river, mountain, star, cloud and clap of thunder was inspired by a spirit controlled by the gods. Heaven signalled its wishes through dreams, oracles or chance events
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Jezza! What a genius. The master plan is clear at last. You spend four days plumbing new depths of political incompetence with bungled cabinet appointments, surly refusals to talk to reporters, tedious waffly platform-speeches and grumpy scowls during a service at St Pauls. And then, when your reputation can dwindle no lower, you spring forth
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Great gag from the TUC. They played ‘Hey Big Spender’ as Jeremy Corbyn arrived to address their conference in Brighton. This was Stormin’ Corbyn’s first chance to reach beyond the Labour party and to address the nation. But he mentioned Britain only in the loosest terms. ‘The whole vision of those who founded the unions
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[audioplayer src=”http://rss.acast.com/viewfrom22/merkelstragicmistake/media.mp3″ title=”Kate Maltby and Igor Toronyi-Lalic discuss Benedict Cumberbatch’s Hamlet” startat=1642] Listen [/audioplayer]You can’t play the part of Hamlet, only parts of Hamlet. And the bits Benedict Cumberbatch offers us are of the highest calibre. He delivers the soliloquies with a meticulous and absorbing clarity like a lawyer in the robing room mastering a
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Time’s up for Hattie. Her performance at PMQs had a whiff of embalming fluid about it. This was probably her last performance as Labour’s stand-in boss and she declared it ‘an honour and a privilege to lead this great party’. Mentally everyone corrected that to ‘this once-great party’. Labour is on the verge of sundering
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Sam Mendes once said there is no such thing as the history of British theatre, only the history of British press nights. That observation takes us closer to understanding the taboo that constrains journalists from reviewing the opening performance of a West End play. A dozen or so previews take place before the critics are
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Australia, 1788. A transport ship arrives in Port Jackson (later Sydney harbour) carrying hundreds of convicts and a detachment of English officers under orders to guard the prisoners and to implant the roots of a well-ordered colony. These facts form the basis of Our Country’s Good, which was created in 1988 by Timberlake Wertenbaker in