Lloyd Evans

Dear Evan Hansen, by Steven Levenson, opens as a standard American teen-angst musical. Evan is a sweaty geek with a crush on Zoe Murphy whose rebellious brother, Connor, is so disturbed that he styles his hair to suggest ‘school-shooter chic’. Evan tries to befriend Connor but gets shoved to the ground. Then, a bombshell. Connor kills himself. By an amazing but credible coincidence Connor’s parents start to believe that Evan was good pals with their deceased son. And Evan exaggerates the depth of the friendship in order to help the family, and especially the mother, cope with their grief. He even fabricates an exchange of emails in which Connor appears to speak warmly about his parents and to express hopes for the future.

When the RSC does modern drama it usually lays on an ultra-worthy yarn with a huge cast, dozens of fancy costumes and a three-hour running time. Miraculously, its new co-production with the Arcola avoids these faults and delivers a terse, gripping 75-minute documentary drama based on the prison diary of Turkish journalist, Can Dundar. In 2015 Dundar received proof that his country’s intelligence service was attempting to supply arms to Syrian rebels. He knew that if he released the material he might face jail but he published it anyway and was threatened with life imprisonment. Peter Hamilton Dyer, well known for impersonating journalists, plays Dundar as a loveably cerebral type determined to stick to his principles.

The Antipodes, by the acclaimed dramatist Annie Baker, is set in a Hollywood writers’ room. Seven hired scribblers are brainstorming a new animated feature under the direction of a mysterious, bearded multimillionaire, Sandy, who seems thoroughly bored with the movie-making process. The script is in its early stages and Sandy decrees that the central character must be a monster. That’s all. The writers can fill in the details. He asks them to indulge in a free-association experiment by describing their first sexual encounter or the scariest moment in their lives. Long speeches follow. Very long, some of them. Sandy loses interest in the project, not surprisingly, and starts to absent himself from the room. The writers toil on, chatting and wittering.

The Royal Court is the theatre’s answer to Islamic State, a conspiracy of nihilists fascinated with death, supported by groups of self-flagellating puritans, and committed to inflicting pain on all who stray into its orbit. The latest fatwa from Sloane Square concerns the imminent demise of the Welsh language — an emergency for which there seems to be scant evidence. On Bear Ridge by Ed Thomas proclaims its amateurish origins with stage directions that belong in Pseuds Corner. ‘Spindly winter branches dance on a fading sign,’ is Thomas’s attempt to create a ghostly mood. The setting is a derelict village shop where ‘ancient bluebottles cling to death on sticky brown fly-catching strips’.

No power on earth can stop Lungs from becoming an international hit. Duncan Macmillan’s slick two-handed comedy reunites Matt Smith and Claire Foy from The Crown. It’s short (90 mins), it has a minimalist set (‘arty’), and it makes no intellectual demands on the crowd (phew!). Best of all, it parrots all the ecological prejudices currently supported by today’s urban bourgeoisie. Matt and Claire play a broody couple who fear that having a child will destroy the planet and kill billions of their fellow earthlings. Their voluble anxieties persist for 40 minutes and become a little tiresome for those blessed with long memories.

Athol Fugard likes to dump his characters in settings with no dramatic thrust or tension. A prison yard is a favourite. He specialises in bored, talkative characters who squirt the time away swapping memories and indulging in bursts of creative play-acting. It’s dull to watch but good fun to perform. Thesps love to step out of character and road-test a range of fictional personalities. ‘Master Harold’… and the boys is classic Fugard. We’re in an empty restaurant in South Africa in 1950. Lunch service has ended. Two waiters twiddle away the afternoon discussing sex, ballroom dancing and beating women (as if this were a standard feature of male behaviour). Enter the boss’s school-age son, Hally, whom both waiters know well.

The Man in the White Suit, famously, is a yarn about yarn. A brilliant young boffin stumbles across an everlasting polymer thread but when he tries to profit from his discovery he faces unexpected ruin. There are only three beats in the story — breakthrough, triumph, disaster — so it needs to be elaborated with some skill. Writer/director Sean Foley does a superb job of making the gaps unnoticeable. He aims for the farcical texture of a pantomime and he opens the story in a cheery northern pub where working-class men and women sit around as equals, sharing pints of ale. Rather a fanciful view of 1950s England but never mind. We move to the factory where Sidney, a clumsy Cambridge graduate, muddles his way through various madcap experiments.