Lloyd Evans is The Spectator's sketch-writer and theatre critic
Has Matt Hancock gone mad? Maybe not. His appearance in ‘I’m A Celebrity – Get Me Out of Here’ is part of a career move that could work well. Converting notoriety into fame pays dividends. Look at Ed Balls and Michael Portillo. Political failures, but they discovered gold on TV. A lot of observers loathe
For the past fortnight, it was Suella Braverman. Now it’s Sir Gavin Williamson. The media aims to destroy two careers a month, on average, and the present quest to topple Sir Gavin has already produced a result. He’s gone. But that’s not enough. It never is. The new clamour is for the nasty knight to
The UK Drill Project is a cabaret show that celebrates greed, criminality and drug-taking among black males in London. It opens with a septet of masked performers, sheathed in dark Lycra, singing a rhythmic poem while pretending to fire guns and stab people with knives. These sad young rappers are desperate to look scary because
The arts cuts have arrived. The biggest loser is English National Opera whose annual award of £12.6 million will be replaced by a grant of £17 million, over three years, to cover the costs of a move from London to a regional centre, probably Manchester. ENO boss Stuart Murphy has complained that it’s unfair to
The small boats have landed. PMQs was dominated by the migration issue and the flotillas of dinghies struggling across the channel each day. So far this year over 40,000 doughty oarsmen have braved the seas in inflatable rafts. And they’re not just desperate to flee France with its rude waiters, pretentious language and over-complicated cheese
King Hamlin is a shock-horror drama about gang crime in London. Hamlin, aged 17, has left school without learning any useful facts or skills. He even lacks a shirt to wear so he shows up for a job interview looking like a vagrant and starts to swear at his future boss. No work for him.
London has a brand-new theatre – yet again. Last summer, a cabaret venue opened in the Haymarket for the first time. More recently, the Marylebone Theatre near Regent’s Park held its debut show. And now Nica Burns of Nimax Theatres has announced a new venture, @sohoplace, which she says is the first West End venue
The Prime Minister has an Asian background. You wouldn’t know that if you listened to the Tories at PMQs because none of them thought it a big deal – not even Rishi himself. But Sir Keir Starmer instantly used the issue to scold the rest of mankind. ‘Britain is a place where people of all races
Good, starring David Tennant, needs more dosh spent on it. The former Doctor Who plays John, a literary academic living in Germany in 1933, whose cosy life is disrupted by troublesome females. His mum is a cranky basket case dying in hospital and his wife is a manic depressive who can’t look after their kids.
A week of sheer hell for the Tory leader. Plots and rumours have swirled around Westminster. Rebels are said to be roaming the corridors and gathering support for an anti-Liz putsch. And yet she’s still here. Our death-row Prime Minister strode into the chamber apparently dressed for her own funeral. Black trouser suit, white cotton
The Doctor is an acclaimed drama from the pen of writer-director Robert Icke. We’re in a hospital run by a famous medic, Dr Ruth, whom the Cockney characters call ‘Dr Roof’. Two major problems beset Dr Roof who has to raise funds for a new private wing while grappling with her partner’s early-onset dementia. A
Liz Truss faced her first proper grilling at PMQs. Her debut, last month, was a softball affair but today Keir Starmer went in with both fists swinging. He asked her to endorse Jacob Rees-Mogg’s view that ‘turmoil in the markets has nothing to do with the Budget’. ‘What we have done,’ said Liz, pleasantly, ‘we
Clunk, clunk, clunk. John Gabriel Borkman opens with the obsessive footfalls of a disgraced banker as he prowls the attic of a shabby townhouse. On a beaten-up sofa lies Gunhild, his estranged wife, who guzzles Coke and watches TV game shows. The whole place stinks of stagnation and failure. The reclusive Borkman was once the
Tough call today for Liz Truss. She had to relaunch her premiership at her very first conference as leader. She walked on stage to the sound of the disco hit Moving On Up and for a horrific moment it looked as if she might do the Maybot dance. Luckily she remained still. To greet the applauding Tories
Eureka Day is a topical satire set in a woke school in America. An outbreak of mumps has led to calls for a vaccination programme that will prevent the school from being quarantined and shut down entirely. The script, written in 2018, has acquired new layers of meaning since the Covid terror. It opens with
Look at this line. ‘I’m 80 years old. I find that unforgivable.’ Could an actor get a laugh on ‘unforgivable’? Maureen Lipman does just that in Rose, by Martin Sherman, a monologue spoken by a Ukrainian Jew who lived through the horrors of the 20th century. In the opening sections, Lipman plays it like a
The queue snakes for miles along the South Bank. Thousands of ordinary people are giving up hours of their time to spend a moment with the Queen’s coffin as it lies in state. Few mourners are dressed up. One or two wear suits and black ties. Some carry flowers. There’s the odd veteran with his
Here comes Paddington – again. Earlier this year, to celebrate her platinum jubilee, the Queen agreed to be filmed taking tea with Paddington in a sketch whose final punchline was a joke about marmalade sandwiches. Her Majesty told the bear she always carries one in her handbag, just in case. On film she was excellent,
Rehab: The Musical opens with a boyband star, Kid Pop, getting busted for possession of cocaine. The judge sentences him to a course of treatment at the Glade which he attends with great reluctance. Giving up marching powder is the last thing on his mind. ‘I said no to drugs but they just wouldn’t listen.’
‘Trans people are sacred. We are divine.’ The first line of I, Joan at the Globe establishes the tone of the play as a public rally for non-binary folk. The writer, Charlie Josephine, seems wary of bringing divinity into the story too much, and he gives Joan a get-out clause to appease the agnostics. ‘Setting
