Lloyd Evans is The Spectator's sketch-writer and theatre critic
Gone With the Wind New London Theatre How did they get it so wrong? Turning chicklit’s greatest story into a hit musical should have been a doddle. Just put the characters on stage and let the warm romantic breeze of the narrative carry you safely home. And that’s exactly what Trevor Nunn has done and
Small Change Donmar War and Peace, I and II Hampstead Oh my God. Did that really happen? I knew nothing about Peter Gill’s 1976 play, Small Change, before arriving at the Donmar to see this revival under the author’s own direction. It’s a love letter, an immensely detailed and spectacularly superficial account of the working-class
Wedding Day at the Cro-Magnons Soho The Internationalist Gate The Black and White Ball King’s Head You can tell when a culture has lost its way because it starts handing out awards. There’s a small club of annual prizes that have some legitimacy. Oscar, Bafta, Booker, Olivier, Nobel — all provide worthwhile verdicts on the
Mike Leigh. Ground-breaking maverick or pretentious miseryguts? To ask the man himself isn’t perhaps the best way to secure an impartial verdict, but the personality that emerges in this series of interviews (composed with superb fluency by Amy Raphael) is an articulate, engaging, generous, highly original and occasionally peppery creative spirit. No British film-maker since
Lloyd Evans on the extraordinary story behind Trevor Nunn’s ‘Gone with the Wind’ The heart sinks, almost. The brow droops, a little. A yawn rises in the throat and dies away. Another musical has opened in the West End and, yes, it’s based on a blockbuster movie and, yes, that too was based on a
Bliss Royal Court Peter Pan, El Musical Garrick The Last Days of Judas Iscariot Almeida The Royal Court’s anointed one, Caryl Churchill, has translated a new play, Bliss, by the Canadian writer Olivier Choinière. Bliss goes like this. Four shelf-stackers dressed in supermarket fatigues stand in a communal lavatory. They narrate a long dreary tale
God of Carnage Gielgud Never So Good Lyttelton Into the Hoods Novello Nothing terribly original about Yasmina Reza’s new play, God of Carnage, which examines the idea that civilised behaviour is a decorative curtain that masks our true savagery. Two nice smug bourgeois couples, while attempting to patch up a row between their sons, descend
A Couple of Poor, Polish-Speaking Romanians Soho Theatre The Man Who Had All the Luck Donmar Warehouse Brave thrusts at the Soho. A wacky new play by Polish wunderkind Dorota Maslowska has been translated and directed by the theatre’s artistic supremo, Lisa Goldman. It opens with a pair of ugly drunken hitch-hikers speaking English in
Motion: The West is provoking a new cold war with Russia Chair: Jonathan Freedland For the motion: Alexei Pushkov Anatole Kaletsky Professor Norman Stone Against the motion: Edward Lucas Dr Lilia Shevtsova Ronald D. Asmus Russia and the West came head-to-head at Intelligence Squared on Tuesday night. Chairman Jonathan Freedland hailed the aptness of the
Hard to define Lewis Hyde. Antiquarian, classicist, story-teller, mythographer, connoisseur, philologist, teacher and scholar, he is as multifarious as the trickster archetype which forms the subject of his new book. In Greece trickster appears as Hermes, and Hyde begins with the Homeric Hymn written around 420 BC which deals with Hermes’s birth and career. Zeus
Legal Fictions Savoy Baby Girl; The Miracle Cottesloe Edward Fox is having the time of his life. The creepy but compelling Jackal has evolved, late in his career, into a specialist light comedian. He’s seriously funny playing the lead roles in a double bill of John Mortimer plays, one from the 1980s, one from the
The Vortex Apollo Plague Over England Finborough Major Barbara Olivier Like a footballer’s wife on a shopping binge at Harrods. That’s how Felicity Kendal lashes into the fabulous role of Florence Lancaster in The Vortex. Every fold, every tassle, every rippling golden pleat of this part is sifted and ransacked for its emotional possibilities. Florence
Perhaps it’s greed. Or is it greed laced with betrayal? Certainly it’s unseemly. As their careers draw to a close, British authors have developed a habit of stuffing their collected notebooks into a rucksack, hopping to America on Virgin and flogging their life’s jottings to the highest bidder. In 2006 Salman Rushdie accepted an undisclosed
Amnesia? Forget about it. That’s my advice to dramatists considering handling this theme on stage because it always generates the same problem. Memory equals personality so a character without a memory isn’t a character. He’s some clothes. The central figure in The Living Unknown Soldier is a French major suffering from total memory loss after
Lloyd Evans reports on the latest Spectator / Intelligence Squared debate Intelligence Squared squared up to intelligence last Tuesday. How do we get the best from our brightest youngsters while not chucking the dimwits on to the educational scrapheap? Chris Woodhead, former chief inspector of schools, proposed the motion, ‘All schools, state as well as private,
Brief Encounter The Cinema Haymarket The Homecoming Almeida Under the Eagle White Bear Bit of a spoiled brat, the Cinema Haymarket. Can’t decide what it wants. Originally built as a theatre, it defected to the movies for many years but having tired of hosting popcorn blockbusters it’s now receiving plays again. Lovely auditorium, though. Wide
Strange fish, Peter Handke. His 1992 play The Hour We Knew Nothing of Each Other is wordless and consists of semi-amusing visual skits. In James Macdonald’s production these mime acts are played out in an unnamed city that looks as if it’s been moulded from dough by a chimpanzee. It’s like an early rehearsal
At 84, John Mortimer is still thrilled by his latest theatrical success, appalled by the cult of ‘health and fitness’ and sorry that the Labour party he loved has vanished. At 84, John Mortimer is still thrilled by his latest theatrical success, appalled by the cult of ‘health and fitness’ and sorry that the Labour
Uncle Vanya Rose Theatre, Kingston The Death of Margaret Thatcher Courtyard At last the Rose has burst into bloom in Kingston. Luckily I allowed myself twice the suggested 40 minutes to get there from Waterloo. It took me quarter of an hour to extract a ticket from the computerised machines, which have been brilliantly programmed
Purgatorio Arcola Happy Now? Cottesloe The Lover/The Collection Comedy Purgatorio. Hardly a seductive title and I confess it was curiosity rather than enthusiasm that dragged me to the Arcola in Hackney to see how Ariel Dorfman (best known for his 1992 play Death and the Maiden) had handled the Medea myth. His update transplants the