Lloyd Evans

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 apprentice with a careless, or perhaps ambitious, sense of what could be managed on stage. Goold adds a spot of extra bother here and there, overusing the balcony, bunging Arabic music into the masque ball, and botching the costumes. Spectacular irrelevance seems to be his guiding principle. The street brawls are enlivened by whooshes of flame surging up from beneath the boards like an oil-rig blow-out.

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 throws herself into ecstasies of relief, leads him to the chaise-longue and showers his face and lips with kisses. He then breaks the news that he’s in love with a typist. She reacts like a cobra touched with a cattle prod. Spitting with anger she denounces the ‘lying hussy’, and vows never to let an intruder steal away her happiness and leave her to die neglected and unloved.

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 his beaming dad. So I can only imagine the levels of pride surging through the families of Ciara Southwood and Madison Lygo as they prepared for the lead roles of Mimi and Janey in the Royal Court’s new play Kin, which is set in a girls’ prep school. The homes of these lucky ten-year-old actresses will have echoed with the play’s exquisitely turned dialogue. ‘Lazy shit,’ says Janey.

As she prepares for the role of Mrs Malaprop, Penelope Keith talks to Lloyd Evans, who finds her decisive, cheerful, pragmatic and modest, with a tendency to break into fits of unexpected giggles A winter off. That’s what Penelope Keith had planned for this year. But when an opportunity arrived to play Mrs Malaprop in Sheridan’s The Rivals she couldn’t turn it down. ‘It’s one of the great women’s parts so I thought I must have a bash at that.’ We meet in a compact, slightly unloved dressing-room in the Theatre Royal, Brighton, where she sits in light-brown slacks and a soft-pink cardigan with her back to a bright mirror festooned with good luck cards. An assistant brings me a cup of coffee and Keith instantly spots that I have nowhere to put it.

As Iraq fades from view so does our outrage at the crimes it provoked. Three monologues by Judith Thompson may cure our amnesia. Forgetting atrocities is an essential preliminary to repeating them. We meet a girl soldier (based on Lynndie England although not identified as her), who faces trial for brutalising prisoners at Abu Ghraib. At school she was a bullied bully, an opportunistic sadist who instigated attacks on others as a survival mechanism. Once she invited a girl with a false leg to a house-party where a gang removed the prosthetic limb, cut it to pieces, and jeeringly ordered the girl to crawl home. At Abu Ghraib, this self-defence technique serves her again, and she strives to impress the male soldiers by devising pantomime humiliations.