Lloyd Evans

Lloyd Evans

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

Edinburgh Festival is in ruins – but there’s one gem amid the rubble

From our UK edition

The virus has broken Edinburgh. The shattered remnants of the festival are visible on the internet. Here’s what happened. The international festival has been reduced to one filmed theatre commission and a handful of videoed musical offerings. The Fringe has survived but in a horribly mutilated form. Two of its most prestigious brands, the Pleasance and the Assembly Rooms (which host hundreds of shows between them every year), have pulled out entirely. They’re so well established that they’ll have no difficulty restarting in 12 months’ time. Another big name, the Gilded Balloon, is offering a few online shows and some recorded highlights from previous years.

How No. 10 outsmarted Alastair Campbell

From our UK edition

LBC broadcaster Iain Dale has moved his Edinburgh Festival ‘All Talk’ series to Zoom, and yesterday he spoke to Alastair Campbell – the two clashed from the start. The former spin-doctor was seated in a strange, beige-tinted room which looked like a sauna. Dale asked where Campbell was, doubtless knowing that he likes to spend the summer holidays in the south of France. I’m enjoying the last few months of the UK being part of [what is] probably the greatest peace-keeping institution on the planet. Dale facetiously responded to Campbell, ‘Oh. You’re in Nato’.

Why David Davis is confident a Brexit deal can be done

From our UK edition

LBC broadcaster Iain Dale has transformed his Edinburgh festival shows into a series of Zoom-casts. First up, David Davis. The former Brexit secretary had arranged his web-cam in a study lined with scarlet law-books. A few hours earlier, he said, he’d completed a seven-mile jog. He’s 71. Davis began by criticising the government over the corona-shambles. Last winter the World Health Organisation had rated Britain ‘top of the league in its preparedness’ for a flu pandemic. But the implementation of the plans had been disastrous. The biggest single error was the failure on testing. It was over-centralised. We were over-proud of our test-approach. Had we done what the Koreans or Germans had done, many thousands would still be alive today.

The New Normal Festival shows how theatre could return

From our UK edition

So the madness continues. Planes full of passengers are going everywhere. Theatres full of ghosts are going bust. My first press night since March took place at a monumental Victorian building in Wandsworth where concerts are staged in an open-air courtyard. The entry process was less fussy than I’d expected. I didn’t need my phone and there was no ‘track and trace’ nonsense. A masked official aimed a ray gun at my face and showed me a reading — 36.4ºC. I’d passed the temperature test. He then pointed me towards a hand sanitiser. ‘Is it compulsory?’ I said politely. A look of fear crossed his eyes, as if violence were about to erupt, and he meekly repeated his request that I soap down my mits.

From riveting Hitchockian melodrama to bigoted drivel: BBC’s Unprecedented reviewed

From our UK edition

Back to the West End at last. After a four- month lay-off, I grabbed the first available chance to catch a show in central London. I joined 20 enthusiasts at the ‘West End Musical — Silent Disco Walking Tour’, which convened outside a Fitzrovia pub. We were given a pink bracelet and a set of headphones that pumped musical hits into our ears. Our cheerleader, Sean, introduced us to his helpers, Tiny Tom and Sticky Vicky, who taught us a quick dance move. It transpired that we were the performers as well as the audience. We set off across the West End like a military convoy of unemployed choristers. At Old Compton Street we belted out ‘A Spoonful of Sugar’ from Mary Poppins.

When theatres reopen they’ll resemble prison camps

From our UK edition

‘Give us a date, mate!’ That was the sound of Andrew Lloyd Webber begging Boris Johnson to announce when the West End can return to normal. He made his plea at the London Palladium on 23 July, where he was testing a new set of Covid-compliant measures during a one-hour solo show by Beverley Knight. It was the first indoor live performance in the capital since lockdown began. The impresario’s advance preparations had been exhaustively thorough. He arranged for the entire venue to be hosed down with an anti-viral fluid that kills the bug for up to four weeks. Every door handle had been fitted with a special cover that exterminates bacteria with silver ions. The audience were given staggered arrival times and they used a one-way system as they moved around the theatre.

RSC’s Merchant of Venice is full of puzzling ornaments and accents

From our UK edition

The BBC announces Merchant of Venice as if it were a Hollywood blockbuster. ‘In the melting pot of Venice, trade is God.’ The RSC, which staged the show in 2015, calls it ‘a thrilling, contemporary interpretation’. Each element in Polly Findlay’s production looks fine. Jacob Fortune-Lloyd and Patsy Ferran (Bassanio and Portia) are as cute as a pair of Love Island hotties. But the costumes are hard to decipher and they seem attached to no particular era. Most of the characters wear chic, well-tailored outfits except for Antonio (Jamie Ballard) who sports a T-shirt and seems close to tears most of the time. He and Bassanio are presented as openly gay even though this weakens the character of Portia.

PMQs: Boris and Keir scrap over Corbyn’s legacy

From our UK edition

There was an urgent question about jobs at PMQs today. One job in particular. The questioner, Maria Miller, was concerned that she hadn’t yet been hired to head a government department. She made her bid for promotion by strewing petals and scented bouquets at Boris’s feet. She reminded us that on Friday, 24 July, the nation will celebrate the first anniversary of his outstanding leadership. She hailed his genius as a recruiter of cops and nurses. She extolled his mission to tackle ‘the regional inequalities we still have in this country’. And she described his feelgood phrase, ‘levelling up’, as a ‘vision’ which, she hoped, would guide him ‘through every year of his premiership.’ This was close to religious ecstasy.

Italy owes Wales reparations for the wrongs of the Roman Empire

From our UK edition

There’s talk of reparations in the air. Lobbyists from around the world are demanding sin-payments from former colonial powers. Let me add my voice to the clamour on behalf of this island’s indigenous Celtic people. My family are from Llanelli in Carmarthenshire and I believe that my compatriots have an excellent case to make against the Roman empire. This is not an extinct claim – the money is still in play. Britain was invaded by Julius Caesar in 55 BC and his visit was followed up a century later by the Emperor Claudius and his mob. The Roman occupation, which involved the military subjection of the Celtic peoples, lasted for about four centuries.

James Graham’s small new drama is exquisite: BBC Four’s Unprecedented reviewed

From our UK edition

Let’s face it. Theatre via the internet is barely theatre. It takes a huge amount of creativity and inventiveness to make anything remotely like a theatrical drama in the digital sphere. The BBC’s Culture in Quarantine team have invited some talented writers and actors to try and crack it. Unprecedented begins with ‘Viral’, by James Graham, in which three 18-year-old lads enjoy a Zoom chat from their bedrooms. The craftsmanship in this small script is exquisite. The characters are united by a common purpose — creating a globally popular video clip — while each has to grapple with a personal crisis. One has a dying granny, one is coming to terms with his bisexuality, the third has a crush on his mate’s sister.

Starmer’s weaknesses are on show at PMQs

From our UK edition

Keir-mania. Is it possible? Can we imagine it? Stadiums full of besotted voters chanting his name in frenzies of adoration. ‘Star-Muh! Star-Muh!’ No. Never going to happen. Sir Keir tinkled his way through his six questions at PMQs hoping to trip up the PM. Instead he put his own weaknesses in the spotlight. Far from being the ice-cool super-inquisitor, Sir Keir turns out to be thin-skinned and tantrum-prone. Boris enjoys tormenting him. When challenged, Boris likes to accuse the Labour leader of unpatriotic hypocrisy. Today, Sir Keir took the bait. When he criticised the government’s job retention scheme, Boris described his approach as disingenuous. ‘He has to work out whether he’s going to support or oppose the government’s programme.

Racial sensitivity training turned me into a confused racist

From our UK edition

The Black Lives Matter movement has put racial sensitivity at the top of the agenda. A new atmosphere of moral rectitude has taken hold, and anyone who makes a tactless or unwelcome statement about race is likely to be fired. That’s what happened to Jack Hepple after a ‘White Lives Matter’ stunt over Man City’s football ground last month. He lost his job. His girlfriend, Megan Rambadt, a reflexologist, was also let go after her employer had earlier suggested it was willing to keep her on if she undertook racial sensitivity training. Meanwhile Keir Starmer has suggested that Labour party workers will be made to follow his example and complete an unconscious bias training course. I signed up for a similar educational programme to discover what they might be in for.

Not even a genius could make Much Ado About Nothing funny

From our UK edition

The RSC’s 2014 version of Much Ado is breathtaking to look at. Sets, lighting and costumes are exquisitely done, even if the location is not established with absolute clarity. The date is Christmas 1918 and we’re in a stately home that has been converted into a billet, or a hospital, for returning soldiers. The prickly Beatrice (Michelle Terry) seems to be an unemployed aristocrat working as a volunteer nurse. She fusses around the ward making discreet enquiries about an old flame, Benedick, whose memory she can’t shake off. Enter Benedick played by Edward Bennett and the fun starts. These two absolutely get inside the skins of their characters. Terry’s portrait of spiky seductiveness is riveting to watch and Bennett has an amazing range of effects at his disposal.

Rishi Sunak is no threat to Boris

From our UK edition

Rishi Sunak made his summer statement this afternoon. The chancellor is never less than immaculately turned out. Skinny blue suit, coiffed hair, silver-grey tie gathered in a discreet knot, a white shirt that glowed like a snow-capped peak at noon. And he oozed board-room competence. One half expected the lights in the Commons to fall and a screen to be unrolled for a Powerpoint presentation. He draws his rhetoric from many sources. In today’s speech we got a hint of Thatcher: ‘I believe in the nobility of work. I believe in the inspiring power of opportunity.’ We heard a reminder of Blair:  ‘I am not dogmatic. I believe in what works.’ There was a faint echo of Churchill:  ‘Hardship lies ahead but no one will be left without hope.

Chaotic, if good-natured, muddle: Hytner’s Midsummer Night’s Dream reviewed

From our UK edition

Nicholas Hytner’s A Midsummer Night’s Dream opens in a world of puritanical austerity. The cast wear sombre black costumes and Oliver Chris, with menacing swagger, brings a note of palpable sadism to the role of Theseus. Then things relax as the ‘mechanicals’ in modern boiler suits prepare to rehearse the play. Hammed Animashaun (Bottom) dominates this little scene with his impish charm and unpredictability. He’s a high-calibre talent of whom more will be heard. After this solid opening, disaster strikes. The forest sequences, already devilishly overcomplicated, are presented on double beds which move restlessly all over the shop and make the story almost impossible to follow. And Hytner has flipped the chief roles.

Sir Keir’s problem? He lacks the Saatchi & Saatchi touch

From our UK edition

Today the prime minister tried out his ‘spoonful of sugar’ routine. Boris has decided that no political problem exists that can’t be solved with a dose of bonhomie, a chorus of ‘build, build, build’, and a £600 billion bung to rocket-boost the economy. This ramshackle strategy was all he brought to PMQs. Against him Sir Keir Starmer was keen to display his world-class mastery of detail. The king of the quibblers was on top form. At least by his own standards. His goal was to blame the PM for the heatwave that recently brought thousands of super-spreaders to Bournemouth beach. Having sleuthed his way through Boris’s recent utterances he found a phrase, ‘show some guts’, issued to authorities in seaside towns.

Paapa Essiedu is a dazzling, all-encompassing prince: RSC’s Hamlet reviewed

From our UK edition

The Beeb has released Simon Godwin’s Hamlet staged by the RSC in 2016. The director makes one major change and leaves it at that. Elsinore is transposed to a present-day African republic where members of the ruling clan are jockeying for power after the dictator’s death. This chimes with our understanding of geopolitics and lends simplicity and coherence to everything else. African flavours dominate the costumes, the furnishings and the music. The casting makes sense too. Most of the company are black and the characters are played by actors of the right sex. It’s rare to see Shakespeare’s gender choices followed faithfully. The superstitious element is strongly emphasised.

PMQs: Blustering Boris stymies Starmer

From our UK edition

Barristers say there are two types of performers in court. The rhinos use brash, crude, overpowering blows. The snakes are subtle, unpredictable and deadly. Today at PMQs, the two beasts met. Boris came out of the jungle at full charge. ‘I think the honourable gentleman has been stunned by the success of the test and trace operation,’ he bellowed. He was responding to Sir Keir Starmer’s criticism of the government’s testing regime. ‘Contrary to his prognostications of gloom,’ Boris went on, ‘it has got up and running much faster than expected.’ Sir Keir, all serpentine cunning, asked him about the failure of the app to trace every relevant contact. Boris thrashed and snorted. Starmer's certainly a class act.

The Madness of George III is much easier to like than King Lear

From our UK edition

The longest interval in theatre history continues. Last week the National Theatre livestreamed a 2018 version of The Madness of George III produced by Nottingham Playhouse with Mark Gatiss in the title role. The script, written by Alan Bennett as a response to King Lear, is much easier to like than the original. An engaging family comedy, with a sad bit in the middle, it benefits from a wonderfully happy ending. The good king is cured, the bad doctors are vanquished, order is restored. A real crowd-pleaser. Bennett’s research gives it the feeling of a documentary drama as he examines the difficulties faced by monarchs who wielded real political power. Family feuds spilled over into public affairs, and if the king happened to run an empire the consequences could be global.

Keir Starmer has no idea how to use normal language

From our UK edition

A testy, ill-tempered PMQs. Sir Keir Starmer began by welcoming the anti-viral breakthrough achieved by British scientists. He got an instant slap-down. ‘I’m glad he’s finally paying tribute to the efforts of this country in tackling the coronavirus,’ said Boris, finding Sir Keir guilty of anti-British sentiment. The PM was road-testing a new jingoistic approach today. He believes his handling of the pandemic is the greatest achievement since the invention of the steam engine. And the furlough is the jewel in this glorious crown. ‘Eleven million jobs protected by a scheme unlike anything anywhere else in world!’ he enthused. Perhaps Sir Keir would be asked to ‘take a knee’ for the job retention programme.