Lloyd Evans is The Spectator's sketch-writer and theatre critic
Easy-peasy at PMQs today. All Ed Miliband had to do was slice open the Coalition’s wounds on Europe and dibble his claws in the spouts of blood. But his attack had no sense of bite or surprise. And his phraseology was lumpen. He used all six questions gently stroking the issue of Europe rather than
At last, it’s reached the West End. Lee Hall’s hit play, The Pitmen Painters, tells the heartening tale of some talented Geordie colliers who won national acclaim as artists during the 1930s. Hall, who wrote Billy Elliot, has done extremely well from a pretty limited set of dramatic techniques. He draws each of his coal
Alive or dead? At PMQs today we discovered whether Dr Fox is still an active toxin within Cameron’s government. Ed Miliband, using that special quiet voice he likes to try when he’s got a deadly question, described the affair as ‘deeply worrying’, and asked how on earth the prime minister could have let it all
Here’s an idea from the heyday of radio comedy. A soap star about to get the chop improvises an unscripted deathbed recovery during a live broadcast in order to save his career. I think it was Tony Hancock who starred in that sketch. To expand it into a full-length play would be quite a challenge.
The theatre world is abuzz with rumours that Michael Boyd, director of the Royal Shakespeare Company, has quit this afternoon. He was appointed in July 2002 and was expected to complete at least a decade in charge. His colleague Vikki Heywood is also expected to resign. Boyd will probably be best remembered for overseeing the
Riots at theatres, commonplace before the Great War, have mysteriously gone out of fashion. J.M. Synge’s classic, The Playboy of the Western World, was disrupted many times during its opening week in 1907 by Dubliners who objected to its portrayal of the rural poor in the west of Ireland. Strange that, feigning outrage on behalf
Lloyd Evans talks to the warm, vibrant, vegetable-growing actor, teacher and director Caroline Quentin Terminal fear. Rising nausea. And possibly vomiting. That’s what Caroline Quentin expects to go through on the opening night of her new play, Terrible Advice, at the Menier Chocolate Factory. ‘I’m really pretending it’s not happening at the moment,’ she tells
It’s a record breaker. The Trafalgar Studio is staging a rare revival of Christopher Hampton’s breakthrough play, written when he was 18, which made him in 1966 the youngest writer ever to have his work staged in the West End. This record has now stood for so long that it could probably do with a
Even the cover is a mystery. Julian Assange’s memoir carries a contradictory, if eye-catching, title: the unauthorised autobiography. On his WikiLeaks site the author disclaims authorship altogether. ‘I am not “the writer” of this book. I own the copyright of the manuscript which was written by Andrew O’Hagan.’ He claims that the text was ‘distributed
A world première at the Almeida. My City written and directed by Stephen Poliakoff. Is it any good? Well, let’s see. Plot, first. It’s not that Poliakoff can’t write a plot; he can’t even think one up. Instead he sets himself a high-minded riddle and examines its possibilities. Take an archetype, ‘the kid-fearful-of-the-dark’, turn it
Christopher Booker, of the Sunday Telegraph, proposed the motion by taking a blast at his own side. Christopher Booker, of the Sunday Telegraph, proposed the motion by taking a blast at his own side. The present Euro crisis had inspired Tory Eurosceptics to talk of “a re-negotiation” and a “repatriation of powers”. This, he said,
‘John Smith is dead.’ These four blunt syllables, as elemental and atmospheric as the first line of a classic novel, form the opening of Chris Mullin’s new collection of diaries. This is a fascinating read, crammed with gossip, jokes, insights and anecdotes, not all of them political. Mullin’s first disclosure is that the ‘decent interval’
Well done, the Royal Court. It’s got the art of audience abuse down to a tee. The queue for the tiny studio theatre snakes up an airless flight of stairs and bottlenecks into a doorway where each play-goer receives a personalised earbashing from an usherette. ‘Hello, did you hear all that? It’s one hour straight
It’s debatable whether politicians of the Left or the Right are better at handling the public finances. But we do seem to learn more about economics under a Labour government. Alistair Darling’s memoir chronicles his turbulent years at the Treasury as he watched the world slithering into a financial volcano. Though the material is extremely
Lloyd Evans meets Tara FitzGerald and is struck by her uncanny beauty and her desire to hear what he thinks Tara FitzGerald’s beauty is fabulous. Literally, there’s something unworldly about the surfaces and contours of her face. It’s as if the codes of her biology had been transmitted to earth from a higher realm, from
Once or twice a season Shakespeare gets booted out of the Globe. In his place a modern author is given a chance to shine. The Scottish writer Chris Hannan’s new play, The God of Soho, opens with a frolicsome nod to classicism. We are in heaven where two demotic deities, Mr and Mrs God, engage
Mark Kermode is not happy. And his discontent is a joy to witness. The centrepiece of his new book about Hollywood blockbusters is a brutally hilarious account of his attempt to see The Life and Death of Charlie St Cloud with his teenage daughter. First he books two tickets online. At the multiplex, the machine
Anna Christie, an early Eugene O’Neill play, has brought Jude Law to the tiny Donmar Warehouse. Set in New York among migrant longshoremen, the script takes ages to get to the point. Mat Burke, a randy Oirish loon, wants to marry Anna, a winsome worldly blonde, but faces opposition from her narky, knife-wielding dad, Chris.
Lloyd Evans mingles with sozzled Scots, benumbed punters and performers with nothing to lose at this year’s Fringe It’s for losers, Edinburgh. The world’s down-and-outs come here in droves every August. This year I was one of them. Having failed to secure my usual lodging, a spartan cell on the university campus, I had to
Hit and miss at Edinburgh. It always is. Random impulses drive you to select one show from the thousands on offer. Coffin Up (10 Dome) contained the hint of a macabre pun (‘coughing up’?), so along I went. It begins in a mortician’s office. There’s a coffin centre stage. The lid springs open and a