Lloyd Evans is The Spectator's sketch-writer and theatre critic
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
The President’s Holiday Hampstead The Sea Haymarket The Vertical Hour Royal Court There’s no such thing as a great script idea. Ideas are equally good or bad, what counts is how they’re treated. Take the 1991 coup against Gorbachev. Pretty dramatic, momentous and gripping, I’d say. And here’s Penny Gold to dramatise it. She may
Motion: Britain should have a referendum on the EU treaty. Chair: Andrew Neil For the motion: Neil O’Brien Andrew Roberts Rt Hon Lord Lamont of Lerwick Against the motion : Sir Stephen Wall Vernon Bogdanor CBE David Aaronovitch. It was like an eclipse. Wednesday’s debate on the EU referendum exactly coincided with a
Iran was in the cross hairs last Tuesday. At the Intelligence Squared debate the mellifluously worded motion, ‘It’s better to bomb Iran than risk Iran getting the bomb,’ was proposed by Dr Emanuele Ottolenghi, a distinguished Italian political scientist. He argued that letting Tehran acquire nukes would create turmoil in the Middle East — and
Tara Arts, a troupe devoted to ‘cross-cultural theatre’, are hauling their Tempest around the country. In a minivan by the look of things. The whole production — cast, cossies and props — could easily squeeze into a Bedford Rascal but, as Mark Rylance has already demonstrated, thrift and The Tempest don’t mix well. Rylance bored
Lloyd Evans believes that Wilde’s comedy is the best play ever written. The Importance of Being Earnest with Penelope Keith is at the Vaudeville Theatre from 22 January. My favourite play is on its way to the West End and I fully expect to be disappointed. It’s not that Peter Gill’s production of The Importance
La Cage aux Folles Menier Chocolate Factory The British Ambassador’s Belly Dancer Arcola Angry Young Man Trafalgar Studio La Cage aux Folles is a musical based on a classic comedy by Jean Poiret. Terry Johnson’s new version is perfectly agreeable. Nice sets, charming actors and the audience loved it. So what’s wrong? Well, the threadbare
Much Ado About Nothing Olivier The Masque of the Red Death Battersea Arts Centre The Winter’s Tale Courtyard Theatre Simon Russell Beale is working through the complete works of Shakespeare like a Regency beau touring Italy. It’s mid-winter and he’s alighted in Messina to peruse the role of Benedick. With Russell Beale the question is
Absurd Person Singular, Garrick Women of Troy, Lyttelton Cinderella, Old Vic Five years as a critic and I’ve never seen anything by Alan Ayckbourn. With a flicker of apprehension in my heart I took my seat at the Garrick. Absurd Person Singular (nice title, nothing to do with the play) begins at a bourgeois
Doubt: A Parable is a small intriguing play set in a New York Catholic school. When a 12-year-old boy is caught getting smashed on altar wine, the fanatical head teacher, Sister Aloysius, starts to investigate. She’s convinced that the lad has been corrupted by a charismatic and handsome young priest Fr Flynn. Outraged, Fr Flynn
Lloyd Evans, The Spectator’s theatre critic, reviews last night’s Spectator / Intelligence Squared debate on the future of Iraq which featured Tony Benn, William Shawcross, Sir Christopher Meyer, Ali Allawi, Rory Stewart and Lt Peter Hegseth. Full audio of the debate is available here. The Future of Iraq Speakers and motions Proposition 1 Go. ‘Allied
Happy Christmas, New End The Seagull; King Lear, New London A blast of seasonal cheer at the New End Theatre. Paul Birtill’s bitter and hilarious family satire, Happy Christmas, starts like a subversive salute to The Homecoming. Upwardly mobile John introduces his posh fiancée Mary to his dysfunctional all-male family. The script is crammed with
On Tuesday Chiwetel Ejiofor and Ewan McGregor take on Othello at the Donmar. If the show hasn’t sold out already, it soon will. Doubtless the starry cast will help shift a lot of tickets but so will the play’s peculiar ‘self-rationing’ effect. Of Shakespeare’s four great tragedies, Othello is the least often revived. The play
The Dysfunckshonalz!; Some Kind of Bliss; William Blake’s Divine Humanity The spirit of punk and its exhilarating lunacies are brilliantly captured in a new show at the Bush. Mike Packer’s affectionate satire tells the story of The Dysfunckshonalz, a major punk band of 1977, who 30 years on are approached by an American bank eager
The motion: Britain Doesn’t Need Trident Harrowing stuff. Helena Kennedy QC began by invoking the memory of Hiroshima. ‘Peeling skin, melting eyeballs. People on pavements vomiting and waiting for death.’ Though she made the pacifist argument Lady Kennedy wasn’t suggesting that to scrap Trident was ‘some wild left-wing peacenik plan’. She cited conservative figures like
Demand for new musicals has reached the point where investors are ready to sink funds into a whole new method of production — the we-can’t-write-a-musical-so-let’s-write-a-musical school of musicals. In the latest effort the 1985 film Desperately Seeking Susan has been crossbred with the songs of Blondie. A terrible ugliness is born. The songs don’t fit
The Arsonists, Royal Court; The Giant, Hampstead; The Bicycle, MenKing’s Head   Strange happenings in theatreland. Three London playhouses have taken it into their heads to mount a sustained attack on the avant garde. Result â” carnage! Careers are in tatters. Reputations have been shredded. Some of these playwrights will never be seen again.
