Lloyd Evans

Lloyd Evans

Lloyd Evans is The Spectator's sketch-writer and theatre critic

London’s one unforgiveable crime

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Everyone knows the rules. London invented trains that run underground as well as the protocol that makes the system bearable. A London Tube passenger enjoys the same prerogatives as an evil tyrant in a fairy tale. Do not stare. Do not approach. Do not distract him in any way. Respect the cocoon of solitude that protects him from the surrounding hubbub. But this simple covenant is not universally observed. Since I moved to London in 1973, I have twice been bothered by chatterboxes on the Tube. Twice, yes. It may sound like a minor annoyance to an outsider but residents of London will recognise the agony I have suffered. The first intrusion occurred in 1991 as I sat on the District line at Earl’s Court. A fat drunkard elbowed my arm and asked me where the train was heading.

One for hardcore fans: Golden Boy reviewed

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Golden Boy, written by Clifford Odets in 1937, feels like a Norman Wisdom movie. A talented boxer wants to become a great violinist so he refuses to throw heavy punches in case he damages his fingers. The boxer, Joe, comes from a loving family who urge him to pursue a musical career but he meets a greedy, fast-talking agent, Tom, who promises him wealth and fame in the ring. To prise Joe away from his family, Tom encourages his adorable girlfriend, Lorna, to use her influence on him. Lorna promptly falls in love with Joe and the romantic triangle adds heaps of conflict to his career as a boxing champ. Josh O’Connor, looking more like a Hungarian philosopher than a streetfighter, brings an arrogant physicality to the role of Joe.

A sumptuous set that’s too good for the play

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The Children by Lucy Kirkwood is a life-or-death drama about three ageing boffins invited to fix a broken atomic power station and save Britain from nuclear disaster. There’s one snag: radiation poisoning will end their lives. Should the old crocks accept the kamikaze mission? The setting for this macabre tale is a cosy farmhouse occupied by 64-year-old Hazel (Meera Syal) and her chattering Irish husband Robin (Declan Conlon). Their colleague Rose (Kerry Fox) shows up after many decades working abroad and she urges them to join the suicidal engineers working on the radioactive site. The stakes are low because the characters are too old for their love lives to matter much The script contains a lot of chit-chat that relates only tenuously to the main story.

Never trust a happy jogger

What is it for? Jogging means being in a hurry to get nowhere in particular as fast as possible. And it qualifies as certifiable behaviour. The madman can see the purpose of his actions but the sane man can’t. City-dwellers are more prone to this mental abnormality than rural folk, who prefer not to go loping through fields of wheat or scampering over the muddied divots of an open moor. In cities, the lunatics are -everywhere, which makes it tricky for the authorities to detain them under the Mental Health Act. Some joggers know that chasing around their neighbourhood like a hamster on a wheel is a little crazy. Hence ‘jogger’s face’, the anguished expression worn by many of the semi-athletes as they galumph along the streets. ‘Why am I doing this?’ they cry inwardly.

Why has the National chosen to put on this cumbersome old play?

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The National Theatre’s latest show, written in 2003, has bundles of energy and ideas. A thrusting young reporter, Yvonne, investigates the shooting of a yuppie in a rundown part of a teeming US metropolis. She learns that the murder was committed by a cross-dressing gang of all-female muggers, known as AOBs, whose leader, Latisha, is a teenage genius. Her parents were alcoholic derelicts and yet she taught herself several European languages while growing up in poverty. Yvonne, who also happens to be multilingual, banters with her in Italian and German. But will Latisha confess and give the newspaper an exclusive?

Marilyn Monroe was a bore

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Who Killed Marilyn? is a new show about an old subject. Sharleen Cooper Cohen’s play examines the circumstances surrounding Marilyn’s suspicious death in 1962. Three possible culprits emerge. The mob, the Feds and the Kennedys. Bobby and Jack were desperate to hide any trace of their romantic links with Marilyn. The mob may have rubbed her out by order of the Feds whose boss, J. Edgar Hoover, paid gangsters to conduct irregular assassinations. Hoover hated JFK, we’re told. And Marilyn kept a secret diary that might have ruined JKF’s career. But that gives Hoover a reason to protect Marilyn and to use her testimony against the Kennedys. The mob also hated JFK because he failed to oust Fidel Castro from Cuba. So they had a powerful motive to keep her alive as well.

My radical plan for the House of Lords

A neighbour betrayed me to her 16-year-old son. ‘Lloyd knows about politics,’ she told the youngster. ‘He can help you with your essay.’ I was introduced to a spotty teenager who appraised me suspiciously through a pair of smudged NHS glasses. ‘What’s the essay about?’ I asked. ‘Politics,’ he said. That seemed to leave the field wide open. ‘Contact a few members of the House of Lords and ask them to name their greatest achievement.’ He nodded. ‘Sounds good, thanks,’ he said with an air of finality, like a chef asking a new minion to sweep the floor. I accepted defeat. My plan had been to give him a sagacious ruling from on high. ‘Listen, m’lad. Always do your homework or you’ll end up doing someone else’s.’ But he understood that better than me.

A classic Alan Ayckbourn that’s made for Roger Allam

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How the Other Half Loves is the play that established Alan Ayckbourn’s name as a writer of farce. Frank and Fiona, a posh, sophisticated couple, encounter problems in their marriage when Fiona has a fling with Bob, a handsome junior at Frank’s firm. Bob’s wife, Teresa, suspects Bob of infidelity and starts to investigate his social life. An innocent couple, William and Mary, are drawn into the muddle thanks to a series of misunderstandings. The centrepiece of the elaborate plot is a pair of dinner parties on successive nights performed simultaneously on a single set. Roger Allam is as cuddly as Paddington and as caustic as Peter Cook The complications are enjoyable to watch because you have to keep adjusting the pieces in your mind to make it all fit together.

The star of the Fringe

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Attention spans at Edinburgh are brief. With thousands of shows on offer, the punters have to make a split-second decision based on the title and the poster. A blunt descriptive name works best, hence the popularity of Dan Kelly: How I Went to Every Supermarket in the World. Kelly spent 11 years as a data analyst collecting the prices of 164 basic items from supermarkets on every continent. The information was sold to international firms that needed to calculate the salaries of their overseas staff. Kelly, a solitary and obsessive character, liked to tour the shops with a dictaphone taped to his chest and to record the prices by muttering into the hidden microphone, like a spy. His adventures are limited to shopping centres in large cities so his observations lack surprises.

Tim Shipman, Arabella Byrne, Alex Burghart & Lloyd Evans

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21 min listen

On this week’s Spectator Out Loud: Tim Shipman argues that politicians’ contempt for the press is really contempt for the public; Arabella Byrne asks if you have old money face; Alex Burghart says that Harold Godwinson has a touch of the Viking about him, as he reviews Harold: Warrior King by Tom Licence; and finally, Lloyd Evans reads his confessions of a dog hater. Produced and presented by Patrick Gibbons.

Tim Shipman, Arabella Byrne, Alex Burghart & Lloyd Evans

Confessions of a dog hater

‘Do you like animals?’ asked the woman at the door, collecting for a zoo. ‘No, I hate them, they keep trying to kill me,’ I said. That got rid of her. I feel a little ashamed of my hostility to animals, which I inherited from my mother. She was raised in rural Ireland and she loathed the countryside and all its non-speaking inhabitants. To her, animals were either predators or ingredients, and she particularly despised geese, rats, mice, squirrels and dogs. ‘Vermin,’ was one of her favourite nouns. And she regarded the word ‘pet’ as a self-deluding fantasy. Which seems reasonable. Animals cannot be tamed but their owners can be deceived. Any beast will turn murderous when cornered. Dog-hate entered my soul. It festers there still.

The slow death of the Edinburgh Fringe

From our UK edition

The Edinburgh Fringe is getting bigger. Last year’s total of 3,893 shows is surpassed this year by 4,206 productions. More people are coming to Edinburgh in search of fame but the pressure of numbers doesn’t guarantee quality. Rival events are treading on Scotland’s turf. London produces two festivals in August that appear to challenge Edinburgh directly. The Camden Fringe offers 450 shows covering theatre, comedy, opera and dance, while the Greenwich and Docklands International Festival stages a mix of theatre, circus and street art. The Edinburgh Fringe used to hold a unique place in the world of British entertainment as an informal talent contest where newcomers were spotted, nurtured and launched as stars.

Zack Polanski reveals his instant soup politics

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Zack Polanski enjoyed a cosy conversation with Iain Dale at the Edinburgh festival yesterday. They sounded and acted like old friends. Dale began by inviting Polanski to enlarge on his experiences growing up gay in Salford. His parents divorced when he was 11 and his wayward behaviour at school attracted a special monitoring regime, ‘full report,’ which obliged teachers to give a written assessment of his conduct after each lesson. As a teenager he was inspired by the Channel 4 series, ‘Queer As Folk,’ written by Russell T Davies.  ‘I realised I should be unapologetic about who I am. And there’s so much power in that,’ said Polanski. ‘To sum up,’ added Dale, ‘Davies gave you licence to be a slut.

An enjoyable circus show masquerading as education

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Brainiac Live! is a ‘family science’ show based on a popular Sky TV programme. It’s ideal for children under 12 and for mums and dads who want an hour-long break from their normal parenting duties. The show is performed by a trio of lab-coated ‘brainiacs’, Ed, Ned and Raz, whose antics centre around loud bangs, naked flames, puffs of smoke and the destruction of props. The fun kicks off with a helmeted Ned preparing to dive into a sheet of cling film stretched across an empty doorframe. He runs. He leaps. He plunges through the transparent barrier which rips apart as he crash-lands on to a discarded mattress. Is that science? Not really. It’s a low-level stunt performed in conditions of extreme safety.

My friend the failure – and the star

‘Altogether Elsewhere.’ The title page of an unpublished travel book caught my eye during a recent clear-out. The author, Matthew Leeming, was a character who deserved to be famous but somehow never made it. He was imaginative, witty, fearless and greedy – wonderfully greedy. He inherited his father’s ceramics company and ran it for years with great success. He loved being rich. ‘Money,’ he used to say wistfully, ‘eases the pain of being alive.’ To pique women’s interest, he claimed to be off-limits. ‘I’m training for the Catholic priesthood,’ he confided He invented businesses out of thin air.

The Trainspotting musical is made for cruise ships

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Plenty of critics have mocked Trainspotting – the musical (with lyrics and music by Irvine Welsh and Stephen McGuinness, respectively) but the producers know their audience’s mind. They want to see live theatre without taking the risk of a new play, which might be gruesome, and they prefer a dead-safe replica of a glamorous movie to something by Chekhov or Pinter. Reviewers admire novelty and inventiveness so they tend to punish theatre-makers who reheat leftovers. The show follows the book more closely than the film, where Renton was the central figure, and here he blends in with the community of wasters and criminals who mope around Edinburgh trying to raise cash for smack. The characters are reduced to simplistic gestures, as easy to read as hand signals. Begbie is a cocky thug.

This J. Edgar Hoover musical is destined for Broadway

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Here Comes J. Edgar! has a brash poster featuring a cross-dressing FBI agent in fishnet tights with his thighs splayed aggressively towards the viewer. He points a warning finger as if to say, ‘Enjoy this show or go to jail.’ The abrasive imagery aligns with the arrogant tone of most LGBTQ+ advertising but the show itself has a more humane and playful temper. Harry Shearer and Tom Leopold have written a superb tragicomedy about a powerful homosexual who wants to conceal his love life while hunting down America’s most notorious criminals. We first meet Hoover as he lies in a hospital bed flanked by two chain-smoking nurses who discuss his health while filling the room with tobacco fumes. This quietly amusing scene sets the mood.

How has Tower Hamlets really spent my council tax?

How does Tower Hamlets spend my council tax? I’ve been shovelling cash at them for 19 years so I strolled along to the new town hall to find out where the money goes. The new town hall cost a packet, clearly. Carved out of the Royal London Hospital, the spacious lobby looks cool, stylish and reassuringly anonymous, like a private bank in Zurich. Glass doors swish apart and I enter the debating chamber where the councillors sit at a curved mono-desk opposite the public gallery. Everything is slick and hyper-modern. The pristine floor glows beneath the recessed lights. I had expected an ordinary meeting but I seem to have stumbled on an important debate.

A funny, unorthodox Much Ado About Nothing

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You may need to do a spot of homework before attending Tilly No-Body at the Arcola. Acted and written by Bella Merlin, the play examines the sufferings and blunders of Tilly Newes, an actress born in 1886, who married the experimental German dramatist Frank Wedekind. At first sight the show looks like a lesson for newcomers but the content is bound to confuse anyone who lacks a working knowledge of German theatre in the early 20th century. The ideal viewer is a literary expert familiar with the whole of Wedekind’s dramatic output. Numerous lines from his plays are quoted, not always with intelligible citations. ‘Women are natural actors’, runs a typical aphorism, and ‘no woman can keep a man happy by behaving sincerely.

Springwood is a waste of time

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Springwood, set in June 1939, looks at a series of tricky meetings between the American president FDR and George VI at the Roosevelts’ family retreat in upstate New York. George and Queen Elizabeth are guests at the poky old house and although they complain to each other about their sleeping quarters they hide their dismay from their hosts. The writer-director, Richard Nelson, evidently despises the main characters apart from FDR (Robert Lindsay) who comes across as a genial old buffer addicted to whisky. The dialogue is divided into easy-to-handle segments. First, we get the history bit. FDR tells George that the US ought to join Britain in the coming war but pro-German sentiment is very strong and the majority of Americans may support Hitler. Then we get the therapy bit.