Lloyd Evans is The Spectator's sketch-writer and theatre critic
Bernard-Henri Lévy is a haunted man. The French philosopher, speaking to me from Paris, told me that when he was 20 years old, in 1968, a flu pandemic broke out across the world which killed an estimated one million people. ‘It was at least as serious as the pandemic of today but without the same
High Tide got there first. The East Anglian theatre company has produced a series of lockdown mini-dramas, Love in the Time of Corona, made up of five filmed reflections on self-isolation. ‘Rainbows’ by Morgan Lloyd Malcolm is narrated by a woman on the edge teaching her kids to decorate the windows with coloured paints. ‘Child
Theatres have taken to the internet like never before. Recorded performances are being made available over the web, many for free. Getting Better Slowly is about a dancer, Adam Pownall, who spent two years fighting Guillain-Barré syndrome. This lucid and enjoyable show (recorded at Lincoln Drill Hall) now looks horribly topical. A young artist, paralysed
With theatres shut, radio must lighten the darkness. The Guilty Feminist is a wildly popular podcast performed by Deborah Frances-White and guests. In the episode of 23 March, the presenter hoped the superbug would cure our mania for business trips to ‘Philadelphia for a meeting about key performance indicators… Don’t fly to see people you
It seems a long time ago now. I was meeting the artistic director of a pub theatre near Westminster on the afternoon of 16 March. Already it was clear that this was one of the worst days of his professional life. That evening’s performance of a John Osborne play had been cancelled because a cast
Double bubble at PMQs. With MPs leaving Westminster a week early, the Speaker ruled that two sessions of PMQs should rub up against each other. It was a full one-hour grilling. Boris adopted his ‘Britain in wartime’ pose. He heaped every questioner with praise and gave his answers with theatrical solemnity. Asked about testing-rates, he
On Blueberry Hill sounds like a musical but it’s a sombre prison drama set in Ireland. Two bunkbeds. Above, an older man, Christy. Below, his younger companion, PJ. They take turns to talk, and gradually they reveal how their lives are interwoven. These are men of unusual intelligence and articulacy, and both are so profoundly
We will have to get used to this. Every afternoon the prime minister strides into a butterscotch room in Downing Street and stands at a lectern between two drooping flags to give the latest dolorous news to an uncertain nation. How ironic that Boris, who instinctively loathes ‘doomsters and gloomsters’, is obliged to play the
Last week Britain was a free-market democracy. Now we’re living in a one-party state. The transition became clear at PMQs today where General-Secretary Johnson gave bland and reassuring replies to super-soft questions from tame MPs. The House was half empty. Members practised a sort of semi-self-isolation. They sat apart from each other by a distance
Here’s the problem. Much communication is done online, especially by youngsters, and much drama focuses on communication. So how do theatre-makers represent emails and telephonic chitchat in ways that are stimulating and realistic? The usual solution is to mount blank screens around the stage and to beam the comms on to the boards while the
He began with a touch of statesmanlike solemnity about the pandemic. ‘The British people may be worried but they are not daunted. We will protect this country and our people. We will rise to this challenge.’ This was Rishi Sunak delivering his first budget. Many viewers will not have seen him give a sustained performance
The Prince of Egypt is a musical adapted from a 1998 Dreamworks cartoon based on the Book of Exodus. So the original writer is God. The show opens with a troupe of fit young athletes working on Pharaoh’s latest tomb. And they look like the best-fed slaves in history. A meat-rich diet and round-the-clock access
The PM defended his Home Secretary as opposition members tried to force her resignation, live on TV, at PMQs. Priti Patel, in a muted fuchsia dress, sat on the Treasury bench nestled snugly between Jacob Rees-Mogg and the Prime Minister. This casual arrangement cannot have been more deliberate. Here she is, announced the seating-plan, and
A Moorish princess shipwrecked on the English coast disguises herself as a boy to protect her virtue. Arriving in London, she’s hired by William Shakespeare as an assistant to his maidservant Kate, who instantly falls in love with the exotic cross-dressing newcomer. This absurdity, familiar to fans of Twelfth Night, is the opening move in
The floods got Jeremy Corbyn into a pickle at PMQs. The Labour leader started off by out-virtuing Boris. The PM had expressed sympathy with the victims of Storms Chiara and Dennis. Corbyn stood up. ‘My thoughts are with those suffering across the world with the corona-virus,’ he said tartly. He accused the PM of responding
An office worker stands on the ledge of an open window about to leap. Two colleagues enter, ignoring him completely. They sit at symmetrical desks and read reports about the man’s background while he clings to the window frame, poised between life and death. This is the opening of Samuel Beckett’s Rough for Theatre II,
History will record Leopoldstadt as Tom Stoppard’s Schindler’s List. His brilliant tragic-comic play opens in the Jewish quarter of Vienna in 1899. We meet a family of intellectuals and businessmen who are celebrating their very first Christmas. The eldest son, Hermann, has married a Catholic and become ‘Christianised’ in order to smooth his path through
Labour’s leadership candidates were grilled by Newsnight’s Katie Razzall last night. Avuncular Sir Keir Starmer, with his greying thatch and bulky frame, looked like a body-builder gone to seed. He spoke in a bluff, commandeering tone that suggested the leadership is his already – and he knows it. His main rival, Rebecca Long-Bailey, seemed ill at
Things got pretty tasty at PMQs. Jeremy Corbyn was well prepared and emerged, messily, as the victor. It started badly for the Labour leader. Ironic cheers rang out when his name was called. Up he stood. But instead of building to a joyous climax, the cheers dropped to nothing. Stark silence followed. This seemed amusing
Nish Kumar was the star turn on Friday at a ‘Brexit and Comedy’ panel discussion in central London. The event was staged by ‘The UK in a Changing Europe’ which describes itself as ‘an independent organisation created to make the findings of academic research easily available.’ Essentially it’s a left-leaning think-tank which behaves like a
