Lloyd Evans

Lloyd Evans

Lloyd Evans is The Spectator's sketch-writer and theatre critic

Losing the plot

An all-Hall haul this week. Sir Peter directs his daughter Rebecca in Twelfth Night at the National. This traditional and very fetching production opens in a sort of Elizabethan rock-star mansion where Orsino (Marton Csokas) lounges on a carved throne, in Lemmy locks and Ozzy cape, intoning the play’s gorgeous opening lyrics. Then the plot

Lloyd Evans

Palace intrigue

Plunging into the second volume of Alastair Campbell’s diaries is like opening a Samuel Richardson novel. Plunging into the second volume of Alastair Campbell’s diaries is like opening a Samuel Richardson novel. The tone is breathless and excitable and the dramatic world of backstabbing, tittle-tattle and palace intrigue is instantly captivating. Historians will scour the

This Ed’s no Goliath

Ed Milliband took up his position at PMQs today flanked by Caroline Flint and Ed Balls. Between a rock and a hard face. His proximity to so many colleagues who wish him ill can hardly have helped his performance. He was like a stale doughnut. Layers of stodge surrounding a hole in the air.  

Non-stop larks

Gently does it. The Fitzrovia Radio Hour takes us back to the droll and elegant world of light entertainment in the 1940s when the airwaves were full of racy detective shows and overheated melodramas about pushy Yorkshiremen and rogue Nazis. The show is set in a radio studio during a live performance and we watch

A soporific session

Labour are on the up. They strolled Oldham. They’ve recruited great armies of Clegg’s defectors. And they’d win a majority if a general election were held tomorrow. There’s been a lot of excited talk in Westminster about Tom Baldwin, Labour’s new communications attack-dog, coming in with his fangs bared and sharpening up their tactics. Well,

Going for gold

There’s gold out there. The search for lost masterpieces beguiles many a theatrical impresario but with it comes the danger that the thrill of the chase may convert a spirit of honest exploration into an obtuse reverence for the quarry. There’s gold out there. The search for lost masterpieces beguiles many a theatrical impresario but

A shock for Dave

Wow. Dave had a real wobble at the start of PMQs today. Ed Miliband stood up, looking as mild as a puppy, and asked about the ‘tip’ of two million quid recently paid to the boss of Lloyds. ‘In opposition,’ said Ed, ‘the prime minister promised, “where the tax-payer owns a large stake in a

Twin peaks

It’s that time of year. The great reckoning is upon us. Insurance is being renewed. Tax returns are being ferreted out. Roofing jobs are being appraised and budgeted for. And spouses are being trundled into central London for the annual session of dialysis at the theatre. It’s that time of year. The great reckoning is

Lloyd Evans

Bookends: Divinely decadent

The film-maker John Waters specialises in weirdos. His new book, Role Models (Beautiful Books, £15.99), is a collection of interviews and anecdotes seasoned with off-beat fashion tips. The film-maker John Waters specialises in weirdos. His new book, Role Models (Beautiful Books, £15.99), is a collection of interviews and anecdotes seasoned with off-beat fashion tips. One

Bookends: multiple maniacs

Here is the latest Bookends column from the magazine The film-maker John Waters specialises in weirdos. His new book, Role Models, is a collection of interviews and anecdotes seasoned with off-beat fashion tips. One of his earliest films, Multiple Maniacs, was a reaction to the Manson family massacres of 1969. He attended a pre-trial hearing

Classy act

Michael Grandage, boss of the Donmar, is a most unusual director. He has no ideas. His rivals go in for party-theme, concept-album, pop-video Shakespeare (provincial folksiness in metropolitan disguise), but Grandage just goes in for Shakespeare. He arrives with no prejudices or pieties, only solutions. He’s the bard’s delivery boy. His current production of King

All over the place

Deceptively attractive. Romeo and Juliet tempts directors and leads them on while keeping all its false doors and secret pitfalls out of view. Rupert Goold’s RSC production is two fifths good and three fifths indifferent. A respectable score. This lovely, tricky and rather silly play isn’t the work of a genius but of a jobbing

Miliband out of the danger zone

Up, up, up! It was the only way he could go. For the last couple of months Ed Miliband has arrived at PMQs like a hapless fag with his bottom ready-stripped for a ritual flogging from Flashman. Today he made a proper fight of it. This was his best PMQs performance since his debut. He’s

Flawed curiosity

His brain clouded with opium fumes, Jean Cocteau wrote Les Parents Terribles in just one week. It opens like a Greek tragedy crossed with a madcap sitcom. The ageing beauty Yvonne prances around her Bohemian apartment pining and weeping for her son, Michael, who has gone missing. When he turns up safe and sound, she

Miliband rises from his deathbed

At last Wednesday’s PMQs Cameron kicked Ed Miliband into touch with a debonair swagger. Today anger replaced disdain. The PM’s eye-popping rage is so palpable that some commentators take it for vulnerability or even a hint of self-doubt. Milband has Cameron rattled? Nothing of the sort. Cameron just can’t control himself.   Asked about the

Child abuse

Christmas approaches. And kitchens and playrooms across the land resound with the joyous tinkle of little Josephs and Marys rehearsing their roles in the Nativity play. My four-year-old son, making his debut in a farmyard cameo, has just one line, ‘I’m a donkey and I’m very tired,’ which he repeats endlessly to the delight of

Nothing Miliband says can rain on Mr Confident’s parade

Back from Zurich, where he’s been helping FIFA determine the winner of the world’s greatest bribery festival, Cameron was in hearty form at PMQs today. He faced Ed Miliband who looks increasingly like the life and soul of the funeral. His party is riding high in the polls – but only when he’s away. As

Lloyd Evans

No laughing matter

The Nobel prize is nothing. The real badge of literary greatness is the addition of the ‘esque’ suffix to one’s name and, if you’re truly outstanding, the word ‘nightmare’, too. Franz Kafka manages this distinguished double, although some readers find the connotations of horror arise not so much from his totalitarian dystopias as from his