Lloyd Evans is The Spectator's sketch-writer and theatre critic
‘The battle of the gingers.’ That’s how Angela Rayner described her tussle with Oliver Dowden at deputy prime minister’s questions today. But it was a cosy chat rather than a vicious duel. Dowden probed Labour’s plan to fleece businesses by raising employers’ National Insurance contributions. Rayner disregarded the issue and drawled out a reply using
The Duchess [of Malfi] has been partially updated by Zinnie Harris in a puzzling modern-dress production. The set by Tom Piper resembles a concrete bunker in an abandoned apartment block and Ben Ormerod’s lighting throws weird shadows across the playing area, which seems to consist mostly of discarded plywood sheets. It feels like a scout-hut
Who runs Britain’s foreign policy? Not the government, that’s clear. At PMQs, Sir Keir Starmer got a monumental roasting from Rishi Sunak whose patience seems to be wearing thin. Technically, Rishi was asking questions but in fact he was correcting Labour’s latest raft of blunders. He began by urging the PM to have a discreet
Strange title, Juno and the Paycock. Sean O’Casey’s family drama is about a hard-pressed Dublin matriarch, Juno, whose husband Jack ‘the paycock’ Boyle refuses to support his family and spends all day drinking with his penniless cronies. The producers have labelled the show an ‘Irish masterpiece’, which raises the bar. Mark Rylance plays Jack as
What could be more exquisite than the life of the professional gambler? I began my career in 2016 with a modest punt of £1,000 on the London mayoral election. Bingo. Sadiq Khan won and I banked a profit of £100. Then Brexit. My guess was that the pollsters had overestimated support for Remain and that
Rishi Sunak’s fleet-footed performance at Prime Minister’s Questions exposed many of Keir Starmer’s shortcomings as Prime Minister. Sunak is the most effective opposition leader since Tony Blair and he mauled Sir Keir today with a blend of decent gags and wily tactics. The Tory leader has the advantage of resembling a human being, while Sir
The Almeida wants to examine the ‘Angry Young Man’ phenomenon of the 1950s but the term ‘man’ seems to create difficulties so the phrase ‘Angry and Young’ is being used instead. It’s strange to encounter a theatre that’s scared of words. The opening play, Roots, by Arnold Wesker, looks at the conflict between town and
Digital modernity has reached the world of political campaigning. Reform’s new video is the first party political broadcast to use AI imagery and it opens as a movie trailer for a film entitled ‘Labour’s Britain.’ Swelling orchestral music and a growling voiceover introduce us to an X-rated horror show. The opening image depicts Gordon Brown
On a Saturday morning, no life stirs. The village café is closed and the ancient church of St Beuno’s is locked and deserted. Beside the stone porch stands a dusty glass case that advertises church services and parish gatherings. Not a single event is scheduled. This is the peaceful village of Botwnnog (pronounced Bot-oon-awg) in
Weird play, Coriolanus. It’s like a playground fight that spills out into the street and has to be resolved by someone’s mum. The hero is a Roman general whose enemies conspire to banish him so he takes revenge by joining forces with a foreign power and laying siege to Rome. Coriolanus’s mother shows up on
Waiting for Godot is a church service for suicidal unbelievers. Those who attend the rite on a regular basis find themselves wondering how boring it will be this time. A bit boring, of course, but there are laughs to be had in James Macdonald’s production. The set resembles a Gazan bombsite with a tree-stump stranded
Why Am I So Single? opens with two actors on stage impersonating the play’s writers Toby Marlow and Lucy Moss. You may not recognise the names but you’ve probably heard of their smash-hit, Six, which re-imagined the tragic wives of Henry VIII as glamorous pop divas. This follow-up show is a spoof of vintage musicals
The Band Back Together is a newish play, written and directed by Barney Norris, which succeeds wildly on its own terms. It delivers a low-energy slice of feelgood nostalgia involving three musicians who reunite in their hometown of Salisbury. The action consists of talk and songs, more talk, more songs, some cider-drinking and a surprise
Shortly before noon, Sir Keir Starmer and his closest chums peeped out from behind the Speaker’s chair to see if it was safe to enter the chamber. Led by their boss, the furtive cabal of Granny-chillers sidled forward and tiptoed to their seats like naughty teenagers late for a geography class. What had they been
Power hasn’t altered Sir Keir Starmer. His frosty and unamused demeanour remains. No hint of warmth or joy has penetrated his defensive outer rind. He still looks like a mourner-for-hire at an oligarch’s funeral. Today at PMQs he was faced by a quick-witted and forceful Rishi Sunak who clearly relishes the role of battering ram.
The Real Thing at the Old Vic is a puzzling beast. And well worth seeing. Director Max Webster sets the action in a vast sitting room painted electric blue with a white sofa in the centre. A lovely use of empty space. But the preview trailer on the theatre’s website shows the actors seated in
Shifters has transferred to the West End from the Bush Theatre. It opens at a granny’s funeral attended by the grief-stricken Dre, aged 32. Dre was raised by his ‘Nana’ as he calls her – rhyming it with ‘spanner’ – and he weeps when he realises that his mother has failed to show up. A
God used to exist. He doesn’t any more, but back in the early 1970s he was a major presence in my life. The world at that time was run by President Nixon and his adviser Ted Heath, but their power was limited, and even they had to defer to God’s authority. That’s how it seemed
The Turbine Theatre is a newish venue beneath the railway arches of Grosvenor Bridge in Battersea. The comfy auditorium is furnished with 94 cinema seats and the only snag is the scent of mildew clinging to the plasterwork. Overhead, the rumbling commuter trains create the perfect soundscape for Cockfosters, a zany rom-com set on the
Dr Phil Hammond is a hilarious and wildly successful comedian whose career is built on the ruins of the NHS. His act has spawned a host of imitators on the stand up-circuit and they share Dr Phil’s confused adoration for the NHS. All of them love the idea of universal healthcare but they dislike the
