Lloyd Evans is The Spectator's sketch-writer and theatre critic
Both these plays are about concealed sexuality. Straight, by D.C. Moore, is based on an American indie flick named Humpday. The play has one of the funniest openings you’ll ever see. We’re in a flat occupied by suburban nonentity Lewis and his wife Morgan. Lewis’s old college mucker, Waldorf, has come home after seven years
Tough play, The Taming of the Shrew. Uniquely among Shakespeare’s comedies, it moves audiences to pity and fear. It’s a video-nasty in the garb of a marital farce, an uncomfortable romance whose closing reconciliation scene invariably draws lusty hisses from female play-goers as Kate renounces her autonomy and bows to the will of her brutal
From our sub-arctic chancellor this was a rip-roaring performance. Using all the arts perfected by Gordon Brown, he dazzled the house with his Autumn Statement. A chancellor should never be entirely candid. His job is to blame others for failure, to take credit for all successes, (no matter what their true origin), to engender confidence
The conference platform was surrounded by screens tinted a deep and easeful blue. At just after 1.30 pm, Lord Leveson ambled forth, sporting a white shirt, a grey suit and a slight stoop. He peered out at the assembled pack of journalists from beneath his curmudgeonly black eyebrows. Then he sat at his desk. Microphones
Pinero’s comedy The Magistrate is a marvellous confection of shameful secrets and multiplying concealments. Agatha, a beautiful widow of 36, has trimmed five years from her age in order to bag her second husband, Aeneas Posket, an agreeably pompous magistrate. Her subterfuge is imperilled by her 19-year-old son who must pretend to be 14 in
While Leveson packs his sun-cream and flip-flops and prepares for a holiday in Australia, the nation holds its breath in anticipation of his report. One lucky citizen, the prime minister, is permitted a sneak glance at the findings of the great inquisitor into press malpractice. At 11.45 this morning, the monumental hardback landed with a
Are we barmy or what? Our mawkish obsession with the first world war demonstrates that we’re in the grip of a mass delusion: institutional sentimentality. The latest symptom of our death-mania is Nick Dear’s engaging play about the pastoral poet Edward Thomas, who was killed in action in 1917. Thomas began writing verse aged 36
A muted PMQs today. But Cameron opened a fresh offensive which may prove to be a blunder. The leaders began by discussing the Gaza crisis in bland and soporific tones. The absence of heat and noise from the debate indicates how little it affects Britain. And how little Britain affects the debate. Cameron and Miliband
An orgy of navel-gazing on the South Bank where a national treasure is satirising the National Trust at the National Theatre. Alan Bennett sets his latest comedy in the drawing room of a crumbling Georgian mansion in South Yorkshire. Greedy speculators are queuing up to seize the house from its plucky owner, Lady Dorothy Stacpoole,
Simon Hoggart has spent 20 years going to Westminster to annoy people. He entertains no high-minded delusions about politics and he writes his Guardian sketches in a state of amused bewilderment by the sheer barminess and abnormality of most parliamentarians. This collection reads like the diary of an intelligent, mild-mannered child whose parents happen to
Nadine Dorries sidled back into view last night on ‘I’m Celebrity … Get Me Out Of Here.’ The show is a parody of transportation. A gang of well-known show-offs are rounded up and removed to Australia where they endure privation and meagre living. They wear prison uniforms with serial numbers stencilled on the back. Phones
Uncle Vanya comes into the Vaudeville at an artful slouch. Lindsay Posner’s take on Chekhov’s story of bickering Russian sophisticates has an unusual visual style. In Britain we’re used to seeing Chekhov set in some fading Palladian mansion just outside Haslemere or Bath. Designer Christopher Oram has rummaged through the archives and discovered some hideously
This is a story of impossible gifts. The Chancellor, George Gideon Oliver Osborne, stands to inherit a 17th-century baronetcy and a large fortune accumulated by his enterprising father. He was also blessed with intelligence, charm, ambition, eloquence and the mysterious ability to seek out power and use it for his own ends. His biographer, Janan
With the prime minister abroad flogging jets to tyrants, Nick Clegg was left to play the statesman at PMQs. He was opposed by Labour’s Harriet Harman. Once a plucky and hard-working performer, Harman is now entering her Elvis-in-Vegas phase. She can remember the words but can’t find the feeling. She accused the Lib Dem leader
Martina Cole is a rarity among novelists. Her work is set in the ugly, male-dominated world of London’s criminal fraternity and yet nearly all her fans are women. Blonde women, in particular, as I found out when I took my seat in the Theatre Royal Stratford East to see Patrick Prior’s adaptation of her breakthrough
Ed Miliband had fun with his dressing-up box today. At PMQs he tried on all kinds of disguises in the hope of scaring the government. First Europe and the EU budget negotiations. Miliband’s approach here is full of cunning and dishonesty. He called for ‘real terms reduction’ even though he knows full well that a
One departs and three more come charging in. It’s always rush-hour for Chekhov in the capital. As the Young Vic’s production of Three Sisters is drawing to a close, the Vaudeville is preparing to host a star-studded version of Uncle Vanya. Up the road, at the Novello, another Uncle Vanya is about to arrive from
Covent Garden, 1833. Edmund Kean, the greatest tragedian of his age, has collapsed while playing the title role in Othello at the Theatre Royal. His son, Charles, is all set to take over and has just prised the lid off a trusty tin of boot polish ready to smear dark grease all over his peachy
Goodness, he’s enjoying himself. Ed Miliband is brimful of confidence these days and he handles himself like a master juggler at PMQs. He flicks out deft gags and acerbic asides while keeping the central question in the air. He’s having fun. And it’s a pleasure to watch. Greatly helpful to him is the government’s pledge
Wow. This is a turn-up. Politicians and actors rarely see eye-to-eye. Thesps regard Westminster as sordid, petty, corrupt and corrupting. Politicians, for their part, like to dismiss the theatre as pretentious, irrelevant and fake. So here’s a play that brings them together. This House, written by James Graham, and directed by Jeremy Herrin, is a
