Lloyd Evans

Lloyd Evans

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

A paper-thin Queen’s Speech

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Even before the Queen had trundled back to Buckingham Palace, Mandy had let the cat out of the bag. Speaking on BBC News he said of the Gracious Speech, ‘All these laws are relevant … and achievable. It will be for the public to decide whether they want them or not.’  There you have it. The greatest power in the land admits the Queen’s Speech is Labour’s manifesto. The response to the Gracious Speech is an enjoyably ragged parliamentary occasion, full of ancient traditions and even more ancient jokes. Frank Dobson proposed the Humble Address and spoke with pride about his Holborn constituency where the anti-Apartheid movement had been born.

Feast for the senses

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Mixed Up North Wilton’s Music Hall Letting in Air Old Red Lion Do you love theatre and hate musicals? Let me recommend the work of Robin Soans. In the past five years Soans has established himself as the most successful practitioner of verbatim theatre, plays drawn from the testimony of eyewitnesses. Where musicals aim for escapist frivolity and sometimes collapse into an extreme and debased form of falsehood, verbatim theatre remains rooted in truth and realism. In previous plays Soans has interviewed terrorists and quizzed distressed celebrities. This time he’s visited Burnley to discover the causes of the 2001 riots. The physical structure of post-industrial Burnley reinforces division. Each mill was surrounded by a tight network of streets where the workers were housed.

Parallel universe

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Armistice Day suits Brown down to the ground. When everyone is obliged wear funeral-director garb, his grey hair and sombre jowls fit the mood perfectly while Dave’s polished and youthful glow looks a trifle out of place.  Gordon performed confidently at PMQs today. So did Dave, as it happens, but the skirmish came to nothing because neither was prepared to fight on the ground chosen by the other. Dave led on the youth unemployment figures. He wanted Brown to admit that his promise ‘to abolish youth unemployment’ had failed. Brown ignored this and took comfort from the thought that without Labour’s policies even more youngsters would be out of work. Dave went into sci-fi mode and told the PM he was ‘living in a parallel universe.

Darwin revisited

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Origin of Species Arcola Seize the Day Tricycle Oh, not again. Yup, I’m afraid so. I had no wish to return to the vexed topic of Darwinism but a much-praised show in east London tempted me out on a frosty night to the Arcola theatre. Bryony Lavery’s new play has a storyline that’s as nutty as a Christmas cake in Broadmoor. Molly, an archaeologist working in Africa, smuggles the skeleton of a female hominid back to her home in the Yorkshire Dales. The unearthed Neanderthal springs to life and Molly proceeds to school her in the amazing truths of evolution. The characters in this bizarre educational farce are symbolic rather than human and the show is more a dramatised lecture than a play.

Facetious or scandalous?

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Very funny guy, John O’Farrell. Very funny guy, John O’Farrell. His columns are a hoot and his excellent memoir, Things Can Only Get Better, turned me temporarily into an insomniac. His latest book, a facetious history of the last 60 years, lacks the cohesion of his memoir and the concentrated force of his columns. Because he feels obliged to cover the whole of the shoreline he finds himself writing about subjects, like Northern Ireland, that don’t engage his emotions, only his knack for mockery. If you tried writing to Bobby Sands MP at the House of Commons about getting your parking ticket rescinded, while he was starving himself to death in a cell smeared with excrement, he never even got back to you. That’s funny. It’s also quite distasteful.

How much longer must we wait?

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Cameron had little choice today. At PMQs he played it sober and he played it statesmanlike. The Afghan issue, which is close to becoming a crisis, dominated the session. Both main party leaders were standing shoulder to shoulder, and Cameron used five of his six questions asking the same thing. ‘Are we both right in thinking we’re both right?’ Yes, said the PM, we’re right. Afghanistan’s salvation lies in the usual mantras. More ‘training up’ of security services, more help for the economy, greater attempts to root out corruption etc. It must all be ‘better targeted’ and ‘more focused’. The question of a ‘single, strong co-ordinating figure’ is being discussed in Washington. Nothing has been decided.

Street culture

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What Fatima Did... Hampstead Mrs Klein Almeida What Fatima Did... is billed as a play. Really, it’s a fugue, a variation on a theme, a crude and boisterous tone poem. The plot is deliberately small-scale. A gang of fun-loving inner-city sixth-formers are shocked to learn that one of their pals, Fatima, has forsaken Western values and adopted the nijab. Her boyfriend George is hit hardest by her betrayal, and he retaliates by showing up at a costume party dressed as a medieval crusader. This gesture doesn’t quite work now that the flag of St George has been reinvented as a multicultural symbol. To freak Fatima out properly he’d have to dress as Adolf or Enoch. That aside, this slender and skilfully elaborated drama is an outstanding piece of entertainment.

Dave misses his opportunity

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Does Cameron fluff PMQs on purpose? Some theorists say he lets Brown off the hook in order to keep the weakling in his job. I don’t buy that. A politician’s natural instinct makes him want to win every session, every question. But Brown sometimes sneaks through intact because Dave rarely varies his tactics. He doesn’t prepare ambushes. He never ponders what Brown wants to hear least. Today the Tories had a great opportunity. Brown’s recent flip-flop over the training of TA soldiers for Afghanistan was inspired, in part, by Dave himself, who raised the issue a fortnight ago. But Dave’s tone was wrong. He thought he was the point - not the soldiers.

Starry night

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The Rise and Fall of Little Voice Vaudeville Life is a Dream Donmar Midnight in a northern slum. The pubs have closed and a boozy, blousy, past-it single mum is trying to seduce a handsome young talent scout. He deters her advances until he hears her teenage daughter, alone in her bedroom, singing jazz classics. The girl is an undiscovered star who can impersonate all the great 20th-century divas, Ella, Edith, Shirley, Dusty, Lulu. The talent scout decides to launch her career and prise her from the clutches of her bullying, drunken mother. Jim Cartwright’s 1992 play is an ingenious comic update of Cinderella. From the producer’s point of view it’s supremely difficult to revive.

Tin pot Griffin fluffs his lines

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Mobs of howling protestors outside the BBC. Police cordons being smashed by anti-fascists. News clips of upended students being dragged across the foyer of the TV Centre shouting, ‘Shame on you for defending fascism.’ It was chaotic, it was emotive, it was anarchic. But, ultimately, it was a marvellously British occasion. Thanks to the BNP, we were given proof tonight of the rag-bag unity of our society. No one is quite sure how Nazi bogeyman Nick Griffin was smuggled into the Shepherds Bush studios for the recording of Question Time. The best evidence is that he stowed away in a lorry driven by an unsuspecting dupe who failed to check the back of his rig. When Griffin entered everyone was amazed that his suit was unsmeared by bunged eggs.

Nothing doing | 21 October 2009

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A poor showing by Dave today. All he managed was a spot of outmoded Labour-bashing and a biscuit joke that didn’t exactly take the biscuit. He attacked the PM over the postal strike and quoted a minister of state admitting that union militants had been emboldened by the government’s indecision over part-privatisation. ‘This trade union,’ said Cameron, ‘can sense weakness and they see weakness in this prime minister and this government.’ Brown got huffy – but not very. He accused Cameron of cynically trying to drag the strike ‘into the political arena,’ It’s already there, said Cameron, ‘not least because the communications workers pay half his bills.

No laughing matter

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Comedians Lyric, Hammersmith Liberace, Live from Heaven Leicester Square Theatre They gushed, they cheered, they purred, they sighed. When a young Richard Eyre read Trevor Griffiths’s new play Comedians in 1975 he prounounced it ‘great’ on the spot. ‘Trev,’ said Rich, ‘you’re knocking on Chekhov’s door.’ Eyre’s production was picked up by an equally thrilled Peter Hall who transferred it to the National and from there it leapfrogged to Broadway. The director of this star-studded revival, Sean Holmes, read the play at 17 and he, too, was smitten. But were the crimson crushes of youth really justified?

Crash, bang, wallop

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The Power of Yes Lyttelton My Real War 1914–? Trafalgar Studios Here comes Hare. And he’s got the answer to the credit crunch. His energetic, well-researched and richly informative new work opens with an actor playing the writer himself (curious frown, Hush Puppies) as he sets out to discover why the markets jumped off a ledge last autumn. The result is less a play and more a commission of inquiry. Over many a lingering lunch Hare has leaned his inquisitive ear towards senior bankers, top journalists and leading economists. He then distilled their testimony into this fact-crammed pageant. The City’s major players saunter across the Lyttelton stage, their silk-lined suits softly whistling, to deliver gobbets of wisdom and insight. Gradually, the picture takes shape.

A sombre scene and a shift in power

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Poppy day came early to Westminster today.  Brown began proceedings by reciting the names of the 37 men killed in Afghanistan over the summer. This took two minutes. The house was silent, funereal, almost awe-struck with the solemnity of the occasion. Brown looked like a man deeply moved by personal grief as he worked his slow way through the deadly list. Ann Winterton punctured the mood with the first question, suggesting that once the Lsibon treaty is ratified the government's first duty will be 'to further the objectives of Europe in preference to those of Britain'. Brown denied this again referenced the Afghan conflict in response. When his trun came, Cameron had no choice but to add his sympathies and to engage constructively in the debate about the war budget.

The one that got away

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Michael Palin is the meekest, mildest and nicest of the Pythons. The latest chunk of his diaries traces his attempt during the 1980s to break away from his wacky colleagues and forge a film-making career in his own right. The title, Halfway to Hollywood, reflects his modest, circumspect nature. We first meet the millionaire filmstar living a monkish existence in Camden in 1980. He occupies an ordinary townhouse. His three children attend state schools. And he drives a Mini, albeit with a sun-roof. To concentrate on screen-writing he turns down $180,000 to appear in a Hollywood movie (you should multiply by about six to get today’s values) and a week later he goes to Hamleys, where he startles himself with his extravagance by spending £59.

Dave will slay the Goliath-esque government

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Clever in its lack of cleverness. Cameron’s performance today was shrewd and unexciting, a speech of nursery-school simplicity. Large bland ideas, plain language. No detail. This was certainly no masterpiece. It didn’t have to be. Cameron’s in a holding pattern. Keep circling and he’ll land safely. Before he arrived, William Hague frustrated the eager delegates with two corporate videos of more than ordinary dullness. The BBC, flouting its own policy of censoring political broadcasts, aired both of them on BBC Parliament (albeit with the sound turned down.) First, a surpise. No less a figure than Bono, the UN's top Guilt Ambassador, spoke to the Tories about debt relief.

Gasping for entertainment

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Breakfast at Tiffany’s Theatre Royal Haymarket Inherit the Wind Old Vic ‘What do you want?’ a film producer asks Holly Golightly about half an hour into Breakfast at Tiffany’s. ‘I don’t know,’ she says, ‘but if I find out I’ll tell you first.’ At this point my hopes for the evening collapsed. Rule one of the characterisation manual states that a character who wants nothing, or nothing much, isn’t a dramatic personality but a list of utterances enfolding an emptiness.

Ramshackle muddle

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Mother Courage and Her Children Olivier Speaking in Tongues Duke of York’s Mother Courage, Brecht’s saga of conflict and suffering, is set during the Thirty Years’ War. The title character is a maternal archetype who ekes out a perilous existence selling provisions to the warring factions and chasing off the recruiting sergeants who want to lure her children into the army. Deborah Warner’s wrong-century production announces its intentions early. At curtain-up we know nothing of Courage except that she has ‘lost a son’. And here she comes, aboard her famous cart, wearing sunglasses, bawling into a microphone while cavorting to the sound of an on-stage rock band like the saddest groin-thrusting granny at Glastonbury.

Good enough for Labour

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For Brown this was a doddle. He couldn’t fluff it. Expectations have sunk so low that all he had to do today was show up, try not to look too knackered, spout a few revivalist platitudes and make sure he didn’t fall over. The rebellion has stalled, the plotters are paralysed. Those who criticise won’t lead, while those who would lead won’t criticise. Mandy, like a protection racketeer within the cabinet, has enriched himself in the currency of ‘loyalty’ (which in these circumstances means a reluctance to coerce others to be disloyal), and yesterday he couldn’t contain his delight at the scale of his new-found wealth. And so Mr Brown, Mandy’s proudest protégé, appeared at 2 pm today on the Brighton seafront.

False trails

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The Shawshank Redemption Wyndham’s Othello Trafalgar Studios All change at Wyndham’s. The wayward sophistication and creative adventure of Michael Grandage’s first West End season has drawn to a close and been replaced by a karaoke version of The Shawshank Redemption. Smart move. Cameron Mackintosh, the theatre’s owner, must be hoping that this stale piece of air guitar will sharpen our appetite for Grandage’s return in 2010. The Shawshank copycat, directed by Peter Sheridan, has been cast with lookalikes in the Tim Robbins and Morgan Freeman roles, reinforcing the impression that the priority is to cook up a comfort-food replica and not upset the punters with unfamiliar tastes. It’s a maddeningly average concept.