Lloyd Evans is The Spectator's sketch-writer and theatre critic
Happy birthday to The Entertainer. The ultimate state-of-the-nation play is 50 years old. I’ve never quite bought the idea that Archie Rice, a failed music-hall comedian, is supposed to represent Britain’s decline as a superpower. A clapped-out comic to symbolise the death of a military hegemony? Don’t get it. But at the time this revolutionary
‘How I hate!’ is the first line of Torben Betts’s new play. Not a promising start. A teenage Goth with a scowl like a squashed spider crouches in her bedroom ranting against her smugger-than-smug parents. A revolution erupts. The Goth cheers and is then raped by a mad soldier. The civil war ends and order
Crack crack crack. Three shots, really close, from a car-park just across the road. Everyone in the crowded street stopped. No doubt what this was — gun crime erupting under our noses. Two more shots. Crack crack. Then another. Crack! My eight-month-old son was in a buggy and I shoved him into a gap between
Got the right place? Yup, this looks like it. I’m about to meet TV’s grumpiest man, and his fixers have booked us a room in a fashionable media institute in Covent Garden. I peer through the frosted glass at what appears to be a hotel, a bistro, a therapy centre and a health farm all
Wicked is a musical based on the early life of the Wicked Witch of the West in the Wizard of Oz. So what’s wrong with it, apart from the subject obviously? Well, if you go to a musical you don’t expect to spend three hours denied the pleasure of a hummable tune, a decent gag,
Here he is. One of Britain’s leading young directors. Tall, sturdily built, mid-thirties, with a mop of thick dark hair and a starter beer gut obtruding discreetly beneath the woolly slopes of his green jumper. Ed Hall, son of Sir Peter, is best known as the founder of Propeller, a company that specialises in all-male
Until last week I was the only person on the planet not to have seen The History Boys. I now rejoin the human race in a state of wonder. Such a whopping hit, such flimsy materials. The setting happens to be familiar to me, a state school in the 1980s where a group of smart
It’s always puzzled me that so few theatre critics are involved in making (rather than interpreting, dissecting and sometimes destroying) theatre. Hats off to Time Out reviewer Robert Shore, who’s quitted the breaker’s yard for the production line. Anxious about this new departure, he admits he ‘finds criticism almost impossible to bear’, although he ‘doesn’t
No civilised person knows who John Humphrys is. I’ve looked into it and I discover he’s rather a sad case — an insomniac who telephones politicians at dawn and interrupts them while they’re still half asleep. This strange career has won him celebrity among the restless multitude who, like him, insist on getting up in
The luvvies are in uproar. Just listen to the din. ‘Horrified,’ says Dame Judi Dench. ‘Disgraceful,’ spits Sir Peter Hall. Equity’s spokesman is officially ‘astonished’ and Sir Donald Sinden calls it ‘absurd’. They’re talking about the imminent closure of the V&A’s Theatre Museum in Covent Garden. The museum has been open since 1987 and it
Always recommended is the Arts Theatre, one of the West End’s loveliest venues. Being a small-scale joint, it’s not much of a cash-mine and its crusty fabric is in urgent need of a refit. The place keeps closing for repairs and then reopening a year later completely untouched. I like that. The bar is pricey
This is a wonderful book — lucid, funny, sharp, truthful, cheeky, generous, erudite, surprise-crammed, and emanating a delicious tang of sophisticated amusement. I would love to continue in this vein but I’m afraid I mustn’t. It’s just not right. You see, the book is a collection of literary columns written by Nick Hornby for an
‘No thanks. Too much sex.’ Thus an elderly friend dismissed my offer to lend him John Stubbs’s compendious biography of John Donne. His fears are groundless. Stubbs tells us virtually nothing about the paramours who inspired Donne’s youthful poems, partly because no new information is available and partly because the poet’s exquisite testimony on the
The highlights of Brecht’s Life of Galileo are packed into the opening hour. As the astronomer glimpses new worlds through his telescope, we get a palpable sense of his wonder and astonishment. The effect of these revelations on the mediaeval mind comes through in simple, thundering utterances. ‘The moon has no light of its own.’
Great writers are never that great close up. Ralph Pite’s revealing biography of Thomas Hardy focuses on the emotional character of the poet and novelist. He comes across as difficult, snobbish, tight-fisted, self-centred, hypocritical, and, worst of all, ungrateful to those who helped him in the early stages of his career. The great champion of
Listing page content here As the large publishers get fatter, richer and duller, the little ones get nippier, sharper and more vigorous. Roy Kerridge is the author of many books, but none of the grand publishing houses wanted this eccentric and highly personal guide to Britain, presumably because it lacks the amenable and forgettable polish
Listing page content here Good and evil slug it out in Paradise Lost. Good triumphs, just about. So, too, in the Oxford Stage Company’s version of Milton’s epic, where flashes of brilliance overcome a few choppy patches. The staging is simple and sometimes powerful but the costumes are a poor blend of mediaeval pastiche and
When he wrote Enemies, Gorky was in love. The object of his desire was the artistry of Chekhov and this 1906 play is his attempt to emulate the master’s theatrical style. Copying from geniuses is risky. Any attempt is doomed, so it’s remarkable that Gorky fails so successfully. He reproduces Chekhov’s entire theatrical caboodle, the
Listing page content here To call him a polymath would be a gross slander. Alain de Botton knows everything. Sim- ple as that. He’s just far too modest to admit it. And I’m happy to report that his great mission to turn every facet of civilisation into a coffee-table book continues. Philosophy, art, travel —
‘Quelle catastrophe.’ Thus Samuel Beckett on hearing that he had won the Nobel Prize in 1969. He would doubtless have been similarly disdainful of the events arranged to mark his centenary, which falls on 13 April. A disregard for fame and success, and even for his followers, was one of Beckett’s artistic hallmarks and it