Lloyd Evans is The Spectator's sketch-writer and theatre critic
Amanda Abbington’s new show is heavily indebted to Noël Coward’s Hay Fever.Coward’s early play follows the tribulations of the superficial Bliss family and at first it was rejected by producers because it lacked action or incident. The oddly titled show, (This is not a) Happy Room, opens on the eve of a family wedding. Disaster
Kemi Badenoch is doing all right at PMQs. The Tory leader is effective in the build-up but her finishing is weak. The point of the inquisition is make the interviewee tremble with fear. Here’s how she ended each of today’s question to Sir Keir Starmer: ‘What’s his advice to business owners laying off staff?’ ‘Why
My Neighbour Totoro is a hugely successful show based on a Japanese movie made in 1988. The setting is a haunted house occupied by two little girls who encounter various creatures rendered on stage by puppets. The story has no action, danger or jeopardy so it’s likely to bore small boys and their dads. Perhaps
Is Rachel Reeves toast? Not according to her. The Chancellor delivered an aggressively self-confident statement about Labour’s spending plans this afternoon. Soberly dressed in maroon, she rattled through her speech like a garden shredder grinding up branches and reducing them to pale little woodchips. Anyone would think she was pondering a leadership bid. After listing
Just Stop Oil are their own worst enemies. I support their aims and I do my best to minimise my carbon footprint. I haven’t flown since 1993, I don’t own a car and I have eleven solar panels on my roof, but I’m losing patience with the movement. Meeting the JSO activists who disrupted a
Cher Horowitz, the central character in Clueless, is one of the most irritating heroines in the history of movies. She’s a rich, slim, beautiful Beverly Hills princess obsessed with parties, boys and clothing brands. According to her, the world’s problems can easily be settled by using the solutions she applied to the seating plan at
At PMQs this week, Sir Keir Starmer got a proper grilling for a change. Kemi Badenoch used smarter tactics: short questions sharply focused; half-truths instantly rebutted. The Tory leader abandoned her normal habit of covering the entire spectrum of Labour’s shortcomings. She focused on their worst error: economic stagnation caused by the tax-grab Budget. Why,
Punk rock, packaged, parcelled, and boxed up as a treat for nostalgic wrinklies. That’s the deal with Punk Off!, a touring show that recently completed a lap of the country at the Dominion Theatre. Most of the audience were there to recall their rebellious heyday. ‘It’s about to get really, really loud,’ announced the compère,
If Kemi Badenoch has a plan, she’s keeping it hidden. At PMQs she used her scattergun approach to complain about unemployment, farming, winter fuel payments, council tax, increases in NI, business closures, food-aid for underfed kids and the murder of David Amess. Eventually, she reached the chancellor’s awkward ‘spring statement’ which would have made a
Why are women still allowed to do housework? The question used to bother me during the years of my marriage when housework became a running sore between us. Perhaps the friction was inevitable. I was born in revolutionary times, the 1960s, and my mother taught me and my siblings to cook, clean and wash up
The Score is a fine example of meat-and-potatoes theatre. Simple plotting, big characters, terrific speeches and a happy ending. The protagonist, J.S. Bach, receives a mysterious summons from Frederick the Great of Prussia. The long first act takes us through Bach’s professional woes and his physical infirmities. His weak vision is being treated by an
India A crowded bus station. A lady monkey with a baby clinging to its neck sidled past me, eyeing the banana I was eating. I barely noticed them. A moment later, claws dug into my back. A skeletal hand darted forward to grab my banana. The baby monkey was on my shoulder. I leapt up and
A bit of a stitch-up at PMQs, or so it seemed. The ‘opposition’ leader, Kemi Badenoch, ignored her duty to voters and spent ten minutes feeding softball questions to Sir Keir Starmer about President Zelensky. At issue was Donald Trump’s decision on Monday to withdraw military aid from Ukraine. Kemi meekly asked Sir Keir if
The BBC celebrated one of its own on Monday night. Armando Iannucci was treated to a fawning retrospective by Alan Yentob, and it opened with a crass piece of TV trickery. ‘Armando Iannucci is not an easy man to pin down,’ said Yentob, as if his quarry were a master criminal or an international terrorist.
Nicholas Hytner’s Richard II is a high-calibre version of a fascinating story. A king reluctantly yields his crown to a usurper who wants his violent revolt to seem like a peaceful transfer of authority. This delicate, complex narrative is presented as a boardroom power struggle in corporate Britain. Snappy suits for the dukes and princes.
Strange atmosphere at PMQs. Our MPs seemed to believe that the Commons debate was a vital briefing session for Sir Keir Starmer as he prepares to meet President Trump in Washington. Everyone advised the PM how to handle himself. But it’s far too late. Sir Keir has already grovelled to his new master by pledging
Unicorn, Mike Bartlett’s new play, involves some characters in chairs discussing a sexual threesome. That’s the entire show. Polly (Nicola Walker) is a drunken crosspatch who wants to spice up her loveless marriage to Dr Nick (Stephen Mangan) by bringing a blonde lesbian into the bedroom. Nick, a dithering twerp, doesn’t care if it happens
The Years is a monologue spoken by a handful of actresses, some young, some old enough to carry bus passes. They stand in black costumes on a white stage explaining to us the significance of memory, history and feelings. Then the story begins. The narrator is a precocious chatterbox born in France during the war
Kemi Badenoch has made PMQs her own. Her own what? Her own select committee. That’s how she runs it. She asks long rambling questions that exhibit her knowledge of the subject. Then she hands over to Sir Keir who rambles back at her, taking his time, feeling no pressure to answer. Not much drama or
Oliver! directed by Matthew Bourne is billed as a ‘fully reconceived’ version of Lionel Bart’s musical. Very little seems to have been reconceived. This stylish and dynamic show develops like an unblemished copy of Carol Reed’s film. Fair enough. Punters want comfort, not novelty when they go to see a 65-year-old musical. Billy Jenkins, as
