Toby Young is associate editor of The Spectator.
I’m becoming increasingly intrigued by Katie Hopkins, the contestant on The Apprentice who has emerged as a national hate figure. (See Richard Curtis’s aside during his Bafta Fellowship speech.) On last night’s show, in which the six remaining contestants had to sell merchandise on a home shopping channel, Katie was so outrageously snobbish about the
“Blairaq” screamed the headline on the front page of Tuesday’s Independent. This was a reference to a poll that revealed 69 per cent of Britons believe Blair will be remembered for the war in Iraq. “Remarkably,” continued the paper, “his next highest ‘legacy rating’ — just 9 per cent — is for his relationship with
Poor Colin Wilson. Has there ever been such a spectacular decline in an author’s fortunes? His first book, The Outsider (1956), was an overnight sensation. Hailed as a literary breakthrough by Philip Toynbee and Cyril Connolly, it earned him £20,000 in its first year of publication — the equivalent of £1 million in today’s money.
Sitting in one of the green rooms at Yorkshire Television on a Saturday afternoon in Leeds, it’s difficult to reconcile the man I’m watching on the monitor with the David Frost of legend. He’s recording four back-to-back episodes of Through the Keyhole to be broadcast on BBC2 later this year and he’s finding it difficult
I’d been in Park City less than 24 hours when I spotted the man himself. I was standing on Main Street talking to one of American television’s most distinguished comedy directors when Mr Sundance happened to walk past. ‘Would you like to meet him?’ asked the director. ‘You’re kidding, right?’ ‘Follow me.’ Unfortunately, as soon
In the five years that I’ve been The Spectator’s drama critic, one of the nicest afternoons I’ve spent was in the company of my fellow critics. No, not at a matinée, but at a lunch for John Gross, who was retiring as the Sunday Telegraph’s man in the stalls after 16 years. Charles Spencer made
Some playwrights mellow with age, but not David Hare. His sense of righteous indignation knows no bounds. According to press reports, the reason he decided to open his latest play on Broadway is that he still bears a grudge against Nicholas Hytner for refusing to schedule more performances of Stuff Happens at the National. Alas,
Connie Fisher, the winner of Andrew Lloyd Webber’s search-for-a-star reality TV show, hits the ground running in The Sound of Music. Indeed, she’s so high energy, it’s as if she’s starring in an infomercial rather than a West End musical. She overdoes everything, right down to the smallest hand gesture. As contestants in reality shows
A man I know who works for a large multinational corporation recently took the decision to trade in his people carrier for a Toyota Prius. Very eco-friendly, you might think, but as with so many apparently ‘green’ consumer choices, there’s more to it than meets the eye. For one thing, his girlfriend was so cheesed
When Boris Johnson was selected as the Conservative candidate for Henley in 2000, a year after being made editor of The Spectator, he called up Charles Moore and asked for his advice on how to handle Conrad Black, the magazine’s proprietor. The problem was that Boris had given him his word that he would not
Listing page content here I can’t make up my mind about Shared Experience. Since 1988, this company has been adapting classic works of literature, transforming some of the greatest books in the Western canon into visceral pieces of physical theatre. The results are distinctly mixed. On the one hand, the plays are rarely more than
The Royal Hunt of the Sun, Peter Shaffer’s 1964 play about the conquest of the Incas The Royal Hunt of the Sun, Peter Shaffer’s 1964 play about the conquest of the Incas, contains one of the most famous stage directions in modern drama: ‘They cross the Andes.’ On the face of it, these four words
Listing page content here At the matinée performance of Donkeys’ Years I attended, Michael Frayn was seated in the row behind me. Seeing this revival of a sex farce he wrote in 1977 must have been an odd experience for him, not least because he more or less single-handedly killed off the genre with Noises
According to theatrical lore, no play can be considered an out-and-out masterpiece unless it’s initially rejected. The most famous example is Look Back in Anger, which received a critical mauling in the dailies and was only saved from closure by Kenneth Tynan’s rave in the Observer. The second most famous is The Birthday Party, which
The Old Country, an Alan Bennett play that dates back to 1977, covers much the same ground as An Englishman Abroad and A Question of Attribution. The central character is clearly based on one of the Cambridge Spies — in this case, a former Foreign Office official called Hilary, who is rotting away in the
Has Harold Pinter become too dominant a figure? I’m not just talking about the trophies he’s picked up in the past 12 months — the Wilfred Owen prize, the Franz Kafka prize, the Nobel prize, the Europe Theatre prize — but, more worryingly, the fact that so many new British playwrights seem content to ape
Blackbird is the kind of play critics absolutely adore. Indeed, the reason it has managed to secure a berth in the West End — a rarity for a new straight play — is that it got such rave reviews at Edinburgh last year. For one thing, it’s about paedophilia, and that enables the critics to
It’s been 44 years since Edward Albee’s Who’s Afraid of Virginia Woolf? made its debut on Broadway, but it still seems extraordinarily fresh. Why? The obvious answer is that the subject matter — the battle of the sexes — is timeless. Anyone in a heterosexual relationship will experience a shudder of recognition at certain points
When I started writing this column in 2001 I didn’t have much time for the theatre. As a child of the Thatcherite Eighties, I regarded state funding of the arts as a ruse cooked up by the liberal intelligentsia to obtain cheap tickets, and thought of theatre people as effete intellectual snobs who spent their
Since taking on this job four years ago, I’ve reviewed 289 plays of which, perhaps, 50 have been worth seeing. Of these, only about ten have been truly outstanding and, of these, only five as close to perfection as it’s possible to get in the theatre. Pillars of the Community, a full-scale production of one