Lloyd Evans is The Spectator's sketch-writer and theatre critic
Quartermaine’s Terms is a period piece within a period piece. It’s set in that part of the early 1960s which was still effectively the 1950s. St John Quartermaine, a shy bumbler, is the oldest and most useless teacher at a Cambridge language school. All his colleagues are lovable freaks. There’s the Jesus-worshipping spinster shackled to
It was cynical. It was shameless. It was low-down politics in every way. But Miliband’s stunt at PMQs very nearly worked. His theme was the reform of housing benefit that will affect those in homes with unoccupied bedrooms. Ed Miliband calls this ‘a bedroom tax’. He kicked off by asking David Cameron about the case
A triple thick dose of chicklit at Hampstead. Amelia Bullmore’s good-natured comedy has three girls sharing a student house in 1983. Those were the days. Back then we received ‘grants’ to attend university, i.e., we were paid to look occupied, like job-seekers and politicians. I’m glad to report that Bullmore accurately evokes the culture and
It was the croc that didn’t snap, the firework that failed to fly, the jeroboam that refused to go pop. Last week, David Cameron’s speech on Europe was supposed to heal a two-decade rift within the Tory family and to set Britain on a bold new course in our relationship with the continent. A week
It’s the size of a Hackney bedsit but the ambience is cosily expensive. Sonia Friedman’s tiny office above the Duke of York’s Theatre in St Martin’s Lane has warm, pinkish lighting and elegant armchairs with thick, deep cushions. The dark wallpaper is obscured by framed posters of hit West End shows. Sprawled across the sofa
Meet Fenton. He’s a psycho. A year or so back he was banged up for murdering a preppy teenage girl in one of America’s less-enlightened southern states. Enter a campaigning congressman, John Daniels, who hopes to teach Fenton to read and write and to help him make something of his ruined life. The opening of
David Cameron’s entrance to the Commons at noon was cheered so ecstatically by his backbenchers that broadcasters decided to run the footage again, straight after PMQs. The Tory cheers redoubled when Ed Miliband rose to quiz the PM. Miliband, however, had discovered a flaw in the prime minister’s position. He probed him on his voting
This was no tantric anti-climax. This was a seismic moment in British politics. David Cameron breezed into a London press conference this morning and proceeded to reshape Europe. The wooden lectern he stood at was pale and municipal. He wore a dark suit and a nice purple tie, and his affable pink chops glowed with
It was like Narnia at today’s inauguration. Half a million Obama fans gathered in Washington to shiver as their leader was sworn in for the second time. (Or the fourth, if you count the fluffed effort in 2009, which had to be repeated later, and the mandatory ceremony conducted yesterday in a nicely heated indoor
A tragicomic curiosity at the Finborough written by Hebridean exile Iain Finlay Macleod. The show opens with James, a young Gaelic-speaker, running an internet start-up in London. Business booms. He grows rich and marries his gorgeous university squeeze. The only snag in his life, and it’s quite a serious one, is that he suffers from
It was written in the faces at PMQs today. Ed Miliband seemed relaxed and happy as he exploited Tory splits ahead of Cameron’s Euro-address on Friday. The PM looked irritable and resigned, like a long-distance hiker whose brand new Timberlands have started chafing just a few yards from his starting point. His conundrum is simple.
Gordon Brown lumbered back into parliament this evening to speak in an adjournment debate at 7.10 pm. Even before dinner he managed to look both over-fed and a bit exhausted. His thick dark hair has grown greyer and longer than when we last saw him barrelling out of Downing Street, in May 2010, having just
Filmic structures are always tricky on stage. David Mamet, an exception, can get away with writing long chains of scenes that last a couple of minutes each. But the theatre prefers to relax, to snuggle down, to linger slowly over every morsel of a many-layered spread. Encountering a screenplay on stage is like receiving a
Seemed a good idea at the time. Ed Miliband decided that the progress report published by the Coalition is a ‘secret audit’. At today’s PMQs he accused Cameron of sneaking it out in order to dodge bad coverage. Poor old Ed. He can’t read the chess-match more than one move ahead. The PM gave the
I wasn’t the only one desperate that Viva Forever! would be a blast. There were hundreds of us eager to leap to our feet and holler through the Spice Girls’ greatest hits as a band of teenage lookalikes led the tribute on stage. Didn’t happen, I’m afraid. The Spice Girls are not in this show.
Michael Grandage is homeless. After a near-faultless decade in charge of the Donmar Warehouse, he now reinvents himself as a roving thesp, a buskined vagabond, a theatrical mendicant wandering the byways and the turnpike lanes and ushering his troupe of all-stars into any pen that will accommodate them. It’s a medieval conception. The strolling players.
A fascinating PMQs. Labour staged one of the most carefully orchestrated attacks on David Cameron they’ve ever mounted. It was relentless. Ed Miliband kicked off by asking the PM about the six fold rise in food-bank dependency. Cheekily, Cameron praised Miliband for applauding the volunteer spirit. ‘It’s what I call the Big Society.’ Miliband gave
PMQs today revealed just how dependent Ed Miliband is on Britain’s future performance. The public finances have shaped his entire career. In government, he watched Gordon Brown screw the economy. Then he watched the economy return the compliment. Now he hopes the economy will wreck the Coalition and propel him into Downing Street. But there’s
Let’s get this straight. I’m a feminist. That’s the way I was brought up. My mum was a passionate women’s libber and I always agreed with my mum — even when she was wrong — but she was right on that one. The struggle to free one sex has liberated both. The human species is now
Both these plays are about concealed sexuality. Straight, by D.C. Moore, is based on an American indie flick named Humpday. The play has one of the funniest openings you’ll ever see. We’re in a flat occupied by suburban nonentity Lewis and his wife Morgan. Lewis’s old college mucker, Waldorf, has come home after seven years