Lloyd Evans is The Spectator's sketch-writer and theatre critic
It started with a fib. Jeremy Corbyn endured a trial-by-sofa on BBC One last night and he was asked if there were ‘boys jobs’ and ‘girls jobs’ in his household. He shook his head. Which is a total porkie. He’d parked his missus at home while he answered questions on prime-time television. A clear division
The Olivier describes Salomé by Yaël Farber as a ‘new’ play. Not quite. It premièred in Washington a couple of years ago. And I bet Farber was thrilled at the chance to direct this revival at the National’s biggest and best equipped stage. She approaches the Olivier’s effects department like a pyromaniac in a firework
Jez Butterworth’s new play The Ferryman is set in Armagh in 1981. Quinn, a former terrorist, has swapped the armed struggle for a farming career and now lives with his sick wife, their countless kids, his sister-in-law and her only son. But the IRA, who murdered his brother as punishment for his disloyalty, are due
Obsession at the Barbican has a complicated provenance. The experimental Belgian director Ivo van Hove adapted the show from a Visconti film based on the novel The Postman Always Rings Twice. This version originated in Amsterdam and was rendered into English by a London playwright. The story mixes surrealism with torrid carnality. Sexy Hannah is
How was last night’s TV squirm-athon? The sacrificial victims handled it pretty well, at first. Theresa May and her unknown husband, Philip, were roasted live on a BBC sofa. The idea, presumably, was to make them seem relaxed, normal, unexciting, not too posh, at ease with themselves and, above all, genuine. Dull Phil sported a
Left-wing groupie Paul Mason has written a costume drama about the suppression of the Paris commune in 1871. We meet Louise Michel and her all-female gang of arsonists as they’re carted off to jail for setting fire to the Tuileries. After a harsh stint in the cells, they’re shipped out to the French colony of
Christopher Hampton’s 1968 play The Philanthropist examines the romantic travails of Philip, a cerebral university philologist, forced to choose between his unexciting fiancée and a predatory seductress. The play’s opening scene contains one of the most brilliant comic shocks in all drama. And the paradoxes and flashes of Hamptonian wit are an everlasting treat. ‘I’m
There was astonishment at the start of PMQs as Michael Fabricant’s wig flew up into the air. Fortunately its owner was rising to speak at the same time so no embarrassment was suffered. John Bercow indulged the house in this last session before the election and let MPs give speeches rather than ask questions. The
Even the Bard’s staunchest fans admit that ‘Shakespeare comedy’ may be an oxymoron. That’s the assumption of the touring company Shit-Faced Shakespeare, which produces the plays as adventures in boozy slapstick. The audience is encouraged to swig along too. I saw their hooch-assisted Much Ado. The colourful costumes looked a bit am-dram, perhaps deliberately, and
Just seven weeks till Jezza-geddon. The Labour leader seemed to anticipate his political extinction with a dead-sheep performance at PMQs. Poor Corbo. He’s never shaken off the air of Speakers’ Corner. He belongs outdoors, with a step-ladder and a bull-horn, ranting away at tourists and pigeons. Today he was faced with a carefully drilled Tory
It’s like Raging Bull. The great Scorsese movie asks if a professional boxer can exclude violence from his family life. Nina Raine’s new play Consent puts the same question to criminal barristers. We meet four lawyers engaged in cases of varying unpleasantness who like to share a drink after a long day in court. They
Don Juan in Soho rehashes an old Spanish yarn about a sexual glutton ruined by his appetite. Setting the story in modern London puts a strain on today’s play-goer, who tends to regard excessive promiscuity as a disease rather than a glamorous adventure. And the central character, a vulgar aristocrat named DJ who grades everyone
BREAKING NEWS: ‘Enjoyable play found at Royal Court.’ Generally, the Court likes to send its customers home feeling depressed, guilty, frightened or suicidal. And, generally, it succeeds. The Kid Stays in the Picture is based on the memoirs of Hollywood super-mogul Robert Evans. Director Simon McBurney uses artful lighting and complex staging effects to disguise
Tactics! At long last. Jeremy Corbyn actually used tactics at today’s PMQs. For the first time ever he divided his six questions into two three-ball overs. He spent the initial trio on last week’s terror attacks. Then, after an unsettling delay, he used three more on Mrs May’s fibs about school budgets. She says they’ve
No one should complain that My Country; a work in progress is a grim night out. It’s rare for a good play to be written by royal command. The co-authors are the Queen’s personal minstrel, Carol Ann Duffy, and the director of her Royal National Theatre, Rufus Norris. These inspiring artistes have sent their vassals
A bizarre exercise in diplomacy from Jeremy Corbyn at PMQs. He manoeuvred the PM into a tricky corner and then stepped gallantly in to disperse the trouble he’d arranged. She’d been caught violating a manifesto commitment to protect school funding. The statistics proved it too. Corbyn’s back-room elves had devised a clever way to summarise
Harry Potter, who uses the stage name Daniel Radcliffe, is a producer’s delight. By now it’s becoming clear that the four-eyed wizard lacks distinction as an actor. He’s not a comedian, certainly not a leading man or a heart-throb, and he hasn’t the ugliness or eccentricity to be a villain. But this Polyfilla quality means
Corbyn flunked it. Yet again. And his failure to skewer the government left the field open to the SNP. Speaker Bercow seemed to collude with this arrangement and he gave the Nats six opportunities to quiz the prime minister. Angus Robertson appeared to relish the battle. His great grey face was already brimming with fury
Hamlet was probably written sometime between 1599 and 1602. The Almeida’s new version opens with a couple of security guards watching surveillance footage taken in a corridor. Well, of course it does. Nothing says ‘late medieval Denmark’ like closed-circuit television. Hamlet (Andrew Scott) appears. His black shirt and matching trousers suggest a snooker pro at
Would it take much to turn Philip Hammond into Dracula? He’s got the gaunt bearing, the unsettling gaze, the greedy overbite and the louring stature of the blood-sucking count. Add an opera cape and a dab of mascara and the costume would be complete. So it’s strange to see this vampiric figure delivering a budget
