Lloyd Evans

Lloyd Evans

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

Gothic caricatures

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Love Never Dies Adelphi, booking to October The Fever Chart Trafalgar Studio 2, booking to 3 April Love Never Dies has been bugging Andrew Lloyd Webber since 1990. He felt that the Phantom of the Opera needed a sequel and he’s been working on it for roughly three times as long as it took Tolstoy to write War and Peace. The script assumes no knowledge of the earlier show. Christine, an unhappily married French diva, is offered a singing contract by a mysterious maestro who runs a theatre in Coney Island. She arrives with her husband and son and discovers that the maestro is none other than the obsessed Phantom himself. The ensuing love triangle is marred by the bizarre psychological distortions of the characters.

Miracle at SW1

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He did it. We saw him. It actually happened.  History was made at PMQs today as Gordon Brown finally gave a direct answer to a direct question. Not only that, he admitted he'd been wrong about something. Tony Baldry (Con, Banbury) informed the PM that his assertion before the Chilcot Inquiry that defence spending has risen, in real terms, every year has been contradicted by figures released to the Commons library. Up got Brown, looking like a wounded old teddy-bear, and offered this epoch-making concession. 'I accept that in one or two years real terms spending did not rise.'   What a union of opposites. Brown and the truth. It was alarming, almost unnatural, to witness. Like Santa in a scuba suit or the Pope playing pinball.

Sister act | 13 March 2010

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Private Lives Vaudeville, until 1 May Party Arts, until 13 March This isn’t right. This can’t be happening. She’s over 50. Quite a bit over. In fact, she’s 53 and she’s playing the 29-year-old heroine in one of the finest comedies in the repertoire. And she’s doing it in London. And she isn’t even English. What possessed Kim Cattrall to imagine she could play Amanda in Private Lives? The answer turns out to be, supreme self-possession. From her first entrance, her starry grace communicates itself to the entire auditorium. The age question resolves itself straight away. She appears half-naked in a bathrobe. Her soft bare arms are plump and tanned and show none of the sinewed graininess of the gym or the bench press.

Tornado in the chamber

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It was like a volcano going off. At PMQs today Cameron was calmly dissecting the prime minister’s underfunding of the Afghan war when he quoted two former defence chiefs who’d called Brown ‘disingenuous’ and ‘a dissembler’. Then someone shouted, ‘they’re Tories!’ Cameron lost control. Instantly, completely. His temper just went. White in the face, he leaned his flexed torso across the dispatch box, hammering at it so hard that it nearly disintegrated. ‘Is that it?’ he yelled. ‘Is that what this tribalist and divisive government thinks of those who serve this country!?’ Rippling with anger he demanded that the PM dissociate himself from his backbenchers’ smears.

Great Scot — a triumph for Vettriano!

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Every year the cream of Scotland comes to Boisdale of Belgravia to celebrate Scottish talent and to toast the winner of the Johnnie Walker Blue Label Great Scot award. Boisdale is quietly opulent. The mighty banqueting tables and blood-red walls decorated with country views suggest baronial splendour in a modern key. It’s Balmoral with central heating. Our host, Andrew Neil, began on a note of unapologetic patriotism. ‘Scotland invented the modern world,’ he said, and reeled off a list of his homeland’s greatest contributions to world culture. Tarmac, television and Tennent’s Super didn’t get a mention and instead he focused on ‘the decimal point, the cure for scurvy and the patron saint of Ireland, St Patrick.

Inner beauty

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Ghosts Duchess, until 15 May Off the Endz Royal Court, until 13 March Ghosts is the most Ibsenite of all Ibsen’s plays. In a sub-Arctic backwater two pairs of lovers pursue doomed romances while outside it drizzles constantly. Oswald can’t marry his mother’s serving-girl because his brain is being attacked by syphilis. Meanwhile, Pastor Manders’s ardour for Mrs Alving is smothered by his inflexible Calvinistic ideals. And outside it’s still drizzling. The external plotting of this great emotional thriller is unusually clumsy. Early on we’re told, in very specific terms, that a brand-new orphanage (made entirely of wood and not covered by buildings insurance) is being overseen by a notoriously clumsy carpenter who drinks too much.

Hague gives Hattie a PMQs kicking

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Brown bunked off PMQs today, claiming a prior luncheon engagement with President Zuma of South Africa. Downing Street blamed the Queen for double-booking the PM. Can that be true? The head of state deprives the Commons of its democratic right to shout ‘Answer the question’ at a block of granite. Perhaps she had their best interests at heart. Hattie Harman, replacing the PM, turned up in a pair of alarmingly shrill pink glasses. Opposite her, William Hague wore a sober suit of inky blue. He looked ominously business-like as he aimed his first shot at her. Why had Brown cut the helicopter budget while the country was fighting two wars? This sent Hattie scampering to her dressing-up box of muddled phrases.

Cheapening the currency

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Here come the Oscars. Even people who rarely visit the cinema can’t resist the world’s greatest awards ceremony. The collision of extremities makes it compulsive viewing. It’s a sort of morality play where the seven deadly sins, and their contrary virtues, are paraded in dumbshow. Greed, hope, vanity, despair, jubilation, pride, joy, envy and a dozen other maxed-out sentiments are let loose. Moderation is banned. Temperance, decency and any restraining impulse must take the night off so that excess and all its spiritual allies can frolic and cavort. We know what will happen. The winners, clutching the pepper pot-sized statue, will sob their gratitude to the world and claim that the gilded midget means more to them than all the money they will ever earn.

Marital infidelity

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Serenading Louie Donmar, until 27 March Measure for Measure Almeida, until 10 April Genius detectors, busy in America, want us to meet the playwright Lanford Wilson. He hasn’t made much impact here possibly because his talent is so vast it can’t be hauled across the Atlantic. His 1970s play Serenading Louie focuses on marital infidelity in the suburbs, and English audiences are entitled to make comparisons with our home-grown chroniclers of bourgeois disenchantment. Wilson doesn’t stand much chance, I’m afraid. His static, pain-strewn narrative has none of the fun or sparkle of English suburban drama. And where Tom Stoppard, Michael Frayn, Alan Ayckbourn and Mike Leigh could manage one good line every couple of minutes, Wilson manages one every hour.

True romance

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‘Any closer and they’ll start kissing,’ said Cameron. The PM and his beloved chancellor were seated side by side at PMQs today, chatting showily throughout. Their rhubarb-rhubarb conversation was intended to quell the rumours of civil war in Downing Street. The ploy misfired. Two men conversing don’t both speak at each other simultaneously. But that scarcely mattered. The session was the rowdiest and least illuminating of the year so far. At times it was noisier than the Pamplona bull-run. Cameron began by trying to elicit answers about the appalling mortality rates at Staffordshire Hospital. Brown adopted his cenotaph grimace and reeled off a list of inquiries, investigations and disciplinary sanctions which parked the issue in neutral territory.

Pale imitation

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11 and 12 Barbican, until 27 February A Life In Three Acts: Bette Bourne and Mark Ravenhill Soho, until 27 February Peter Brook, the world’s most maddening theatre director, returns to London with an adaptation of a novel set in the French colony of Mali in west Africa. Brook is never as bad as his critics hope nor as good as his fans dream. So he always disappoints somebody. 11 and 12 tells of a schism within an oppressed Muslim sect. Some worshippers recite 11 verses of a certain prayer, others 12. The tiff intensifies and the French authorities order a crackdown. This dispute neatly encapsulates the seismic pettiness of religious controversies but the bust-up isn’t pursued very far.

Spectator debate: ‘We must quit Afghanistan now’

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Chair – Andrew Neil Proposing – Correlli Barnett, Simon Jenkins Opposing – Charles Guthrie, Andrew Roberts Farce very nearly visited the debate on Afghanistan on Tuesday. A parliamentary three-line whip prevented the MPs Liam Fox and Peter Kilfoyle from reaching the hall. So our ancient democracy threatened a debate on Afghanistan’s brand new one. The issue that kept them in parliament? Democratic reform. Correlli Barnett proposed the motion and lamented that America’s ‘panic and rage’ had precipitated the war after 9/11. Accepting the consequences of retreat would be bolder than propping up the ‘posturing clown’ Hamid Karzai. We should leave by September.

Losing the plot

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Really Old, Like Forty-Five Cottesloe, in rep until 20 April Stage Fright Canal Café, until 20 February This is what the National is for. A little-known writer Tamsin Oglesby has been given a chance to shine on the Cottesloe stage. Her Alzheimer’s play sets out to give the age-old issue of old age a brisk shake-up. We’re in the near-future. A sinister new health trust, The Ark, has been set up to grapple with the problem of granny-management. Ruthless bureaucrats discuss hardline policies. Motorway-style lanes should be imposed on pavements to allow athletic pedestrians to speed past dawdling wrinklies. A new wonder-drug has been discovered whose hidden side effect is death. ‘Ten per cent of old people suffer from dementia,’ says the chief policy-maker.

A perky PMQs<br />

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The Tory graveyard poster – brilliant and shocking – cast a long shadow over PMQs today. The debate itself came down to fine judgements about the validity of the leaders’ arguments. Cameron demanded to know if Brown planned to introduce this grim levy or not. He quoted acidic comments from senior Labour figures who’ve called the tax ‘a cruel deception’, ‘badly costed’ and ‘poorly constructed.’ Brown’s response, which seems reasonable, is that the Conservatives ‘voted for this in the House and now they’re refusing to help us to give local authorities the resources they need.

Blunt instrument

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Enron Noël Coward Fool for Love Riverside With Enron, the playwright Lucy Prebble has picked an almighty task. The Texas fuel giant collapsed in 2000 with $30 billion worth of debt, which at the time was the largest bankruptcy in the history of money. The firm’s bosses flipped through the almanac of bent accountancy and lighted on a hoary old swindle. A shadow company was created to buy up their loss-making assets thus boosting profit margins and forcing the stock price skywards. To get the auditors to sign off the paperwork Enron simply bribed them. Anyone hoping to find any ingenuity or sophisticated elegance in the fraud will be disappointed. Money is a very blunt instrument in this play. So is the writer’s technique.

Cameron blitzkriegs back into the game

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Dave bounced back today. After a couple of lost months he showed up at PMQs and gave a thoroughly convincing display. Shrewd tactics, sound principles, headline-friendly quotes and some decent gags. The Chilcot Inquiry is proving a handy prosecution witness in the case against Brown. Cameron quoted a fistful of top generals who believe the former chancellor was a serial under-funder of the military. Brown’s response was a classic example of bluster and confusion. Good arguments arrive singly. Bad arguments enter in rowdy swarms. He gave five different replies to the main charge: the 2002 defence review had been the best in 20 years; fourteen billion pounds has been spent on Iraq: the rising defence budget would rise even further; the Tory manifesto in 2005 promised a £1.

All change at Hampstead

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As Ed Hall takes over the Hampstead Theatre, Lloyd Evans offers some advice on how to run this prestigious venue Congratulations, mate. You’ve landed a plum job. And a bloody tough one, too. Paradoxically, it’s harder to run a single venue than to run a group of theatres. The focus is tighter. There’s less opportunity to experiment, to learn as you go, to fine-tune your style. You have to get it right fast. Here are some hints. First, where are you? Since moving to its new premises in 2003, the Hampstead has barely left a trace on London’s theatre scene. Many play-goers have yet to pay their first visit. You’re a product in a marketplace but you’re invisible.

Dealing and drifting

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Six Degrees of Separation Old Vic, until 3 April The Little Dog Laughed Garrick, booking to 10 April Even those who’ve never entered a theatre know the title. John Guare’s 1990 play, Six Degrees of Separation, tells of a penniless black hustler, Paul, who inveigles his way into New York’s upper-class society by claiming to be the son of Sidney Poitier. The couple he bamboozles are art dealers. Wily, avaricious and insecure, they work without a gallery and instead operate in the shadows of parties and restaurants, like illicit bookies, speculating in works which they own briefly and then ‘flip’ to the next greedy broker or syndicate.

An unequal contest

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Hague for prime minister? According to one of the wilder Tory theories, a hung parliament could force a humiliated Cameron from office and put the trusted Hague into Number 10 at the head of a coalition government. On today’s showing Hague has lost his hunger for power. With Brown in Northern Ireland on Superman duty, Hague was pressed into service against Harriet Harman. The leader of the house arrived in a stiff tunic of imperial purple decorated with a butterfly brooch whose winged shape divided opinion. To some it suggested a phoenix-from-the-flames, to others a W-shaped recession. Hague had no trouble dominating her at PMQs. And because he knew he’d have no trouble, he took no trouble either. He was relaxed and fluent.

Balls’s god delusion

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Ed Balls has had enough. He’s finally decided to haul in Britain’s absentee fathers and teach them a thing or two about parenthood. ‘All the evidence,’ says the Families minister, ‘is if fathers are properly engaged and involved, then they stay, they’re supportive to their children, they do all the things which lead to better child outcomes.’ Balls has fallen victim to two whopping fallacies here. One is statistical. Labour’s tax system encourages cohabiting parents to pretend to be living apart, so large numbers of invisible dads are absent only in Whitehall graphs. In fact they are at home already, exactly where the government is spending money urging them to be.