Lloyd Evans is The Spectator's sketch-writer and theatre critic
Ten days since the start of the Great February Revolution (as historians are unlikely to call it) and the breakaway MPs must be feeling a bit miffed. The rebels, tagged as ‘TIGs’ in the press, are blessed with every advantage a political movement could hope for – apart from a logo, a creed, a headquarters,
All About Eve is Cinderella steeped in acid rather than sugar. Eve, or Cinders, is a wannabe star who uses a powerful theatre critic (the Buttons character) to help her win fame by overcoming two Ugly Sisters represented by a movie goddess, Margo Channing, and her film-director boyfriend. This fairytale was filmed in 1950 with
It’s Day Three of the great insurrection against the tired, stale old politics. Only this morning, a fresh impetus was added to the movement. Chuka Umunna and his six escapologists have now been joined by four more asylum-seekers, one from Labour, three from the Tories. How these moral pioneers can bear to continue as members
The Dumb Waiter is a one-act play from 1957 that retains an extraordinary hold over the minds of theatre-goers. It’s set in the basement of a Birmingham restaurant where two Cockney hitmen are preparing to execute an unknown victim. A dumb waiter, or shelf on pulleys, descends from above containing requests for two-course meals. Liver
Hampstead has become quite a hit-factory since Ed Hall took over. His foreign policy is admirably simple. He scours New York for popular shows and spirits them over to London. His latest effort, Cost of Living, has attracted the film-star talent of Adrian Lester, who plays Eddie, a loquacious white trucker from Utah. (His ethnicity
It’s all over, folks. This is absolutely the last time you’ll ever see Theresa May live in concert. Until the next time. May has become a bankrupt rock-star taking her tired old hits out on the road yet again. This week’s futile tour includes Belfast, Dublin and Brussels. Futile because the EU won’t grant any
The NT’s new play is an update of Pamela, a sexploitation novel by Samuel Richardson. It opens with Stephen Dillane and Cate Blanchett stranded in a concrete garage dressed as French maids. On one side, a black Audi saloon. Mid-stage, colourful blinking lights. At the edges, four other actors lurking. The main characters have no
Bit of a different day at PMQs. There wasn’t a peep from Remain Corner where Anna Soubry, Nicky Morgan and Sarah Woollaston like to hold court. Perhaps they’re all re-training as Uber-drivers in case a snap-election renders them jobless. And we heard nothing from the Labour party’s Bullingdon Club of Brexit-saboteurs, Yvette Cooper, Stephen Kinnock
The cast of Party Time includes John Simm, Celia Imrie, Ron Cook, Gary Kemp and other celebrities. They play a crew of posh thickos at a champagne party who chat away about private members’ clubs and adulterous affairs. In the background we hear of a ‘round-up’ involving the arrest and perhaps the murder of the
History will remember Sir James Dyson as the pioneer of the bagless vacuum-cleaner. Thanks to his genius, we are now able to interrupt our chores and stare in amazement at mini-tornados of dust and filth swirling around in a transparent cylinder. This void of rubbish has been exported all over the world – not unlike
One masterpiece, one dud, and one interesting rediscovery. That’s Pinter Five. Victoria Station is a hilarious sketch which might have been turned into TV gold by the Pythons or the Two Ronnies. A radio controller needs a cabbie to collect a fare from Victoria Station, but the only driver available is a charming lunatic whose
It looked exciting on paper. A massive defeat for the government. Their flagship policy not just sunk but blown to smithereens. And a Prime Minister facing a no-confidence motion for the first time since Sunny Jim Callaghan was unseated in 1979 by Margaret Thatcher. And yet PMQs lacked sparkle. The mood was footsore, hungover, whimpering with
Sweat, set in the Pennsylvanian rust belt, looks at a blue-collar community threatened by a factory closure. The script uses the flashback device. Scene One informs us that two lads were found guilty of doing a Bad Thing eight years ago. What Bad Thing? The author won’t tell us because the play needs suspense but
PMQs began with tributes to the late Paddy Ashdown. The philandering man-of-action was the closest thing the Liberal Democrats ever got to James Bond. And though he was often ridiculed by MPs as a self-important windbag, today they hailed him as one of the greats. In this respect the House truly reflected the people. Death
It starts with a balding weirdo locked in a cupboard ranting about mythological abstractions. This is Dominic Cummings, the key figure in Channel 4’s Brexit film, The Uncivil War, and the opening scene is designed to overcome a major hurdle. How to make the audience – half of whom loathe Brexit – feel sympathy for
‘I try to interpret the most generous version of somebody’s actions,’ says the dramatist James Graham. This rare ability to create open and sympathetic characters has turned the 36-year-old into our foremost political playwright. His breakthrough work, This House, chronicled the terminal decline of James Callaghan’s premiership between 1976 and 1979. Rather than focusing on
The Tell-Tale Heart is based on a teeny-weeny short story by Edgar Allan Poe. The full text appears in the programme notes. Here’s the gist. A madman kills his landlord and is haunted by a ghostly heartbeat that prompts him to confess his crime. Anthony Neilson’s adaptation turns both characters into women and gives away
The best way to avoid Brexit bust-ups is to pretend that Remain folk are right about virtually everything. This may not be easy. A relative arguing for a second referendum will probably say, ‘in a democracy people can change their minds.’ To which the obvious reply is, ‘So change your mind and accept the verdict
Hecklers had a great day at PMQs. Mike Amesbury opened proceedings by wishing everyone a Merry Christmas. ‘Very generous,’ said a female cynic. The Speaker joined in the barracking and nuisance-mongering. Several times he halted MPs and ruined their flow in order to scold the house for noisiness. He even interrupted his own interruptions by
Sam Shepard was perhaps the gloomiest playwright ever to spill his guts into a typewriter. The popularity of his work must owe itself to some deep grudge nursed by America’s elite against the redneck states. True West is a standard Shepard ordeal: a pair of damaged, inadequate, bitter, loveless white males are cudgelling each other
