Lloyd Evans

Lloyd Evans

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

What Sadiq Khan and the SNP have in common

From our UK edition

The mayor of London, Sadiq Khan, and his four deputies submitted themselves to a public grilling last Tuesday. The State of London debate was chaired by James O’Brien and broadcast live on LBC. ‘I will endeavour to speak as little as possible,’ quipped the garrulous radio host who maintained his line of larky, locker-room banter throughout. ‘Sadiq Khan and the deputies,’ he said, ‘It sounds like the most rubbish band of all time.’ And he ribbed the mayor for ‘dancing like a crazy man’ at the premiere of Abba Voyage in the East End. Clearly a tight and cosy friendship there. Khan opened with a sermon about how ‘humbled’ he felt by his re-election as mayor last year.

If you see this show you’ll want to see it again – directed properly: The Glass Menagerie, at the Duke of York’s Theatre, reviewed

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The Glass Menagerie directed by Jeremy Herrin is a bit of an eyeball-scrambler. The action takes place on a huge black platform flanked by 1930s antiques: a typewriter, a broken piano, a reel-to-reel tape recorder and a smattering of Anglepoise lamps. This cryptic setting suggests that the play is being developed in a Museum of the Great Depression, and the show we are seeing is the latest rehearsal. It’s not clear what purpose is served by this fiddly imposture. And although the act of sabotage doesn’t quite destroy the show, it’s touch and go during the opening 20 minutes. Herrin has shared the role of Tom between two actors. Tom Glynn-Carney is a character who participates in the action and Paul Hilton is a narrator who explains the drama to us.

PMQs: The pure panto of Rayner vs Raab

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A tasty duel at PMQs today. The party leaders were absent and their understudies, Dominic Raab and Angela Rayner, traded insults across the dispatch box. Their styles are polar opposites. Raab is laconically deadly. Rayner is brashly entertaining. And their sartorial choices reflect their different approaches. She wore a chic white frock offset with black side panels – quietly fetching. He was in a dull, slush-grey suit – a ruthless advocate reporting for duty.  Battle commenced. Rayner claimed that Boris’s overseas trip was proof that he had ‘fled the country’. And she mocked his promise to remain in office for years on end. ‘Limping on until 2030. Will the cabinet prop him for this long?

Bloated waffle: Jitney at the Old Vic reviewed

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The Old Vic’s new show, Jitney, has a mystifying YouTube advert which gives no information about the play or the characters. If the producers paid for the marketing themselves, they’d do a better job. https://www.youtube.com/watch?v=4AZK_C3lqsM The advert fails even to mention that ‘Jitney’ is Pittsburgh slang for ‘taxi’ and that the action is set in a cab firm in the 1970s. The boss, Becker, is a growling despot who dominates his crew of uppity young drivers by glaring at them psychotically. The prattling cabbies hang around the office gossiping about casual sex and petty crime. Or they ogle porno magazines. Or they show off their bedroom technique by thrusting their pelvises towards the viewers in row A.

Three cheers for booing in the theatre

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In the theatre, to boo is taboo. There was an exception last week when Andrew Lloyd Webber’s name was booed by the crowd at the final performance of his musical Cinderella after a letter written by him to the cast, in which he called the show a ‘costly mistake’, was read out on stage. But that’s rare. Outside of panto season, the West End generally prefers a play to be received in a sepulchral hush. It’s curious that booing is absent from modern theatre, because it’s as old as European drama. The earliest reports of audience booing were recorded at the annual festival of Dionysus in Athens where playwrights competed to win prizes for their efforts.

PMQs: Starmer fluffed his chance to land a deadly blow on Boris

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It’s tomorrow, isn’t it? The deadly hammer blow that ends Boris’s career will be delivered by voters in the crucial Yorkshire and Devon by-elections. But hang on. The deadly hammer blow was supposed to fall two weeks ago when he narrowly survived the no-confidence vote. Then again, the hammer blow was due to knock him dead when Plod gave him a fine for toasting his staff during lockdown. And that’s after he survived the deadly hammer blow that struck as soon as the cops began probing criminality at Number 10. Spare a thought for the poor guy wielding the deadly hammer. Soon he’ll die of exhaustion. The Commons has tired of the never-ending Boris-on-the-brink story.

Joyously liberating: Tony! [The Tony Blair Rock Opera] reviewed

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Harry Hill’s latest musical traces Tony Blair’s bizarre career from student pacifist to war-mongering plaything of the United States. With co-writer Steve Brown, Hill has created a ramshackle, hasty-looking production that deliberately conceals the slickness and concentrated energy of its witty lyrics, superb visuals and terrific music. The last thing it wants to seem is sophisticated and it starts off with a parade of New Labour grandees, all grotesquely overblown. John Prescott is a violent northern drunkard who wants to punch everyone in the face – including the Scots because ‘they’re too far north to be proper north’. Robin Cook is a cerebral sex maniac.

Starmer certainly put more welly into it at PMQs

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Last week, Sir Keir was monstered by his critics after a feeble performance at PMQs saw him he fail to trouble a wounded Boris. Even his closest allies were in despair. ‘Put some more welly into it,’ advised his deputy Angela Rayner. Today we saw Sir Keir transformed and unleashed. He was flinging wellies in all directions. The search for his inner populist began with a reference to a film released 45 years ago. ‘The prime minister thinks he can perform Jedi mind-tricks on the country …. The force isn’t with him any more … He’s Jabba the Hut.’ He called Boris ‘the ostrich’ and said he was busy massaging the figures to pretend that our flat-lining economy is surging ahead on magical rocket boosters.

Gandhi’s killer is more loveable than his victim: The Father and the Assassin reviewed

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Dictating to the Estate is a piece of community theatre that explains why Grenfell Tower went up in flames on 14 June 2017. The abandoned block stands, like a cenotaph, a few minutes’ walk from the social club where the show is presented. The local council never cared much for Grenfell’s 120 families. Plans to destroy the tower and expand the estate – with higher rents, of course – had long been under discussion. A one-bedroom flat in west London goes for half a million pounds so there were profits galore to be made. ‘A gold mine for the council,’ said one developer, ‘and they don’t even have to dig for gold.

PMQs: Boris let slip his re-election strategy

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PMQs started with a bump. The Speaker called Dame Angela Eagle whose tone was acidic but quietly conversational. ‘This week’s events demonstrated just how loathed this Prime Minister is,’ said the dame. ‘And that’s only in his own party.’ A decent gag that won big laughs – and not just from the opposition. But Boris didn’t crumple. Anyone who hoped to see him slouching like a wounded elephant to the bone-yard was disappointed. His brush with death has sharpened his relish for the fight. ‘I thank her very much for her question. And in a long political career – so far! – I have picked up political opponents all over. That’s because this government has done some very big and very remarkable things.

Is Shakespeare racist?

From our UK edition

Shakespeare’s Globe has a new wheeze to popularise its shows. The latest production, Henry VIII, is supported by a seminar about racism in this late play which the Bard co-wrote with John Fletcher. The online event, hosted by the Globe’s Dr Will Tosh, features dramatist-in-residence, Hannah Khalil, and Mira Kafantaris, a critical race theorist from the US. Both these experts proclaim their status as migrants and they examine Shakespeare through the lens of racist exploitation. At first glance it seems tricky to link racism with Henry VIII who was born four years before Columbus sailed for the Caribbean. But racism is everywhere, it seems.

Newcomers will need to read the play in advance: Julius Caesar, at the Globe, reviewed

From our UK edition

Some things are done well in the Globe’s new Julius Caesar. The assassination is a thrilling spectacle. Ketchup pouches concealed inside Caesar’s costume explode bloodily with each dagger blow and the conspirators are doused in dripping scarlet gore. During the assault, Caesar fights back and very nearly survives. Highly realistic. Afterwards, his statue is toppled and rolled off the stage in a subtle echo of Colston’s ducking in Bristol docks. The crowd relished every minute of this pacy, high-energy show even though the visuals are wildly confusing. Brutus (Anna Crichlow) is a lesbian who sports a beige pashmina, a white T-shirt and a fetching gold turban. She looks like the deputy chairperson at a seminar about dolphins.

Hard to believe this rambling apprentice-piece ever made it to the stage: Almeida’s The House of Shades reviewed

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The House of Shades is a state-of-the nation play that covers the past six decades of grinding poverty in Nottingham. The action opens in 1965 with a corpse being sponged down by an amusingly saucy mortician. The dead man, Alistair, sits up and walks into the kitchen where he natters with his prickly, loud-mouthed wife, Constance (Anne-Marie Duff). They seem to live in the city’s most dangerous dwelling. People keep dying. Then they come back to life to make a speech or two. Constance’s pregnant daughter doesn’t survive a back-room abortion and she shows up half a dozen times in a skirt dripping with blood. Alistair expires again and returns to life to tell us what it’s like to die. How the writer, Beth Steel, researched this experience isn’t clear.

Starmer fluffed his lines at partygate PMQs

From our UK edition

PMQs was a warm-up today. The main event was Boris’s response to Sue Gray’s partygate report. Boris’s body language was sheepish as he sat through PMQs. He hunched in his place, head down, legs crossed, his meaty arms enclosing his ribs in what psychologists call a ‘self-comforting’ gesture. He was giving himself a bear-hug. Sir Keir predicted that the Tories would shortly perform a U-turn on windfall taxes. Probably true. But Boris wanted it both ways. He derided Labour’s passion for confiscating the assets of big business. ‘You can feel the lust for tax rising off the benches opposite,’ he said luridly. Ian Blackford delivered a long, tetchy speech which liberated enough warm air to fill a weather balloon.

The bizarre theatre of the BBC’s partygate exposé

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Last night’s must-see TV show was Bury Boris – the Movie. In anticipation, the BBC released a trailer for a Panorama edition about parties in Downing Street. It’s a thrilling two-minute watch. It opens with a shot of a dodgy skinhead in a sleazy overcoat being released from Wormwood Scrubs. Or is it an international money-launderer being secretly filmed at Davos? Or perhaps a premiership star on his way to court for kicking his dog. But hang on. There’s a caption. ‘Lee Cain’s leaving do’. The date is November 2020 and a farewell bash is being held in Downing Street. Over this, we hear a tense, familiar voice. ‘Can you tell us what happened?’ The interrogator is Laura Kuenssberg, the BBC’s in-house Inspector Rebus.

The playwright seems curiously detached about rape: The Breach, at Hampstead Theatre, reviewed

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Hampstead’s latest play is a knotty rape drama by Naomi Wallace set in Kentucky. Four teenagers with weird names meet in a hired basement. Hoke and Frayne are boys. Jude is a girl whose younger brother, Acton, gets bullied at school. Their chat is aggressive, cynical and funny. Jude boasts that she’s already lost her virginity but she’s proud to have slept with just two men: ‘You’ve got to do six or seven to qualify for slut.’ Hoke claims to have groped his 34-year-old aunt when she was drunk, ‘but she never knew it happened so in a way it didn’t’. Great opening dialogue. Wallace’s attitude to sexual assault is curiously detached. She seems to think rape is ‘just one of those things’ Then it all goes haywire.

Keir Starmer needs to learn when to keep quiet at PMQs

From our UK edition

It’s half-time in the Beergate versus Partygate contest. The current score, nil-nil, would suit both leaders perfectly. The economy dominated PMQs. Unemployment, boasted Boris, has reached its lowest level since 1974. Great news. But inflation is at a peak last seen in 1982. Slow-footed Sir Keir didn’t mention that. He pushed Labour’s pet-project, a windfall tax on the oil majors, which has been mishandled by ministers. Some flatly oppose it, others dither. Rishi Sunak won’t rule it out and Boris said today he was looking at ‘all measures.’ Why the wobble? Sir Keir predicted a U-turn and urged Boris to hurry up about it. The Tories have own-goaled this. If they bring it in, they’ll look weak. If they don’t, they’ll look mean.

Two hours of bickering from a couple of doughnut-shaped crybabies: Middle, at the Dorfman Theatre, reviewed

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‘I fink I doan luv yew any maw.’ A marital bust-up drama at the National Theatre opens with a whining Cockney, Maggie, telling her City whizzkid husband Gary that their relationship is over. Gary and Maggie are aspriring underclass types who’ve achieved bourgeois prosperity: John Lewis kitchen, vintage wine rack and a ceramics collection. They have an eight-year-old daughter at a private school where she learns ballet steps and the piano instead of watching road-rage videos on YouTube like a council-house kid. She’s called Annabelle, by the way, and one wonders if Gary and Maggie style themselves ‘Garfield and Margaret’ at the school gate.

Angry diatribes and amusing pranks: Donmar Warehouse’s Marys Seacole reviewed

From our UK edition

The title of the Donmar’s new effort, Marys Seacole, appears to be a misprint and that makes the reader look twice. Good marketing. The show is a blend of Spike Milligan-esque sketches and indignant speeches about race but it starts as a straightforward historical narrative. Mary Seacole enters in Victorian garb and introduces herself as a woman of half-Scots and half-Caribbean heritage who believes that ethnic differences create hierarchies of competence. Her veins, she says, flow with ‘Scotch blood’ and this gives her an entrepreneurial advantage over her ‘indolent’ Caribbean neighbours. Inflammatory stuff. If a white author embraced that supremacist creed, there’d be outrage.

Piers Morgan’s Uncensored has a huge mountain to climb

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He sits alone at a huge glossy desk like a James Bond baddie in his lair. The viewer expects Daniel Craig to burst in and demand the nuclear codes at gunpoint. This is Piers Morgan in Uncensored, his new flagship show for Talk TV which launched last Monday. The week began with a storm of bad publicity about ‘the most explosive interview of the year.’ Morgan was accused of doctoring a trailer to make it appear that Donald Trump had flounced out in the middle of their tete-a-tete. But the unedited footage showed the prickly ex-president muttering, ‘turn the camera off’, as he left the studio. A spot of sneaky editing turned this minor tremor into a massive earthquake. An excellent result for Morgan as it guaranteed a big audience for his debut show.