Lloyd Evans

Lloyd Evans

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

A World Elsewhere hints it’s about Bill Clinton. But it’s about Al Gore

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Why, oh why, the producers ask, are the national press so reluctant to cover the London fringe? The snag is that a national paper has to justify a report about a play produced in a Deptford yoga studio, or in a Wandsworth priest hole, to readers living in Liskeard, Inverness, Great Yarmouth and Carlisle. Rather than changing the habits of the newspapers, the producers might change the way they select plays. A few years ago, a modest little venue in Hoxton mounted a satire called The Death of Margaret Thatcher. The national papers dispatched their finest critics and they were joined by political commentators from around the world. The play was rubbish, alas, but as a piece of publicity it remains unsurpassed. Theatre 503 in Battersea seeks to emulate this ploy.

PMQs sketch: Miliband nutmegs Cameron, while the Speaker seemed preoccupied

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That should have been a tap-in. London is currently crippled by a Tube strike thanks to the noted beach enthusiast, Bob Crow, and his high-earning chums at the RMT. So David Cameron had a superb chance to tip a bucket of manure over Ed Miliband’s head. The political connections are self-evident. Red Ed, union militancy, London throttled, all Labour’s fault. But Cameron was nutmegged by Miliband’s tactics. Ignoring the strike, the Labour leader asked about the newly formed inland sea which used to be known as the West Country. He accused the government of a slow, tight-fisted and shambolic response. Cameron assumed the facial expression of pumped-up severity that he usually reserves for Syria.

Sam Mendes’s King Lear is a must-see for masochists

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Directors appear to have two design options when approaching a Shakespeare tragedy. Woodstock or jackboot. Woodstock means papal robes, shoulder-length hair and silver Excaliburs gleaming from jewelled belts. Jackboot means pistols, berets, holsters and submachine-guns. Sam Mendes sticks the jackboot into King Lear in an attempt to find ‘a modern understanding of the story’, as he puts it. What this ‘modern understanding’ reveals is that Shakespeare’s opening scene allows the dramatic focus to move between the personal and the political with invisible fluency. Mendes destroys this asset by laying on a televised show trial. Lear’s daughters, surrounded by scowling commandos, are arraigned at miked-up tables as if accused of treason.

PMQs sketch: Cameron kick-starts a Miliband recovery

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Cunning work from Milband at PMQs. He played Syria like a fixed-odds betting machine and came away with a minor jackpot. Last week he had urged the prime minister to accept a few hundred of the neediest Syrian refugees. Cameron duly said OK. Today Miliband was quick to claim a victory for decency, for humanity, and for Miliband. ‘I welcome this significant change of heart,’ he said. Choice word, heart. He’s got it. And Cameron hasn’t. That’s the implication. Miliband tried the same tactic with the 50p tax rate. When Ed Balls unfurled this this new policy he got a mixed bag of reviews. Economists put their fingers in their ears and ran around wimpering. The popular response suggested it was a top ten hit.

If you can figure out the mind-boggling plot of Ciphers — join Mensa

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Here’s a heartwarming tale from the London fringe. A company named Above the Stag was merrily plying its trade at a small pub attic in Victoria. Then in March 2012 a bulldozer squashed the pub flat. In its place rose a glittering steel tower full of geeks, screens, beeps and loot. Undeterred by demolition trucks and by dollar-gobbling speculators, Above the Stag began searching for a new arena. After a difficult year cadging empty spaces from nearby theatres, the company has now found a permanent home beneath a Vauxhall archway. Good news: London’s theatreland is expanding even when freeholders are literally whipping the land from under its feet.

PMQs sketch: Miliband begins to run out of arguments

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Syria overshadowed PMQs today. The chamber was quiet and sombre. And both leaders were clearly about to do their world-statesman bit. Ed Miliband rose to his feet with an air of ineffable goodness. He looked like St Peter on his way to donate the dead Judas’s sandals to a charity shop. He asked about Britain’s readiness to accept Syrian refugees in accordance with a UN directive. Britain, said Cameron, is already the second largest donor to Syria. And the crisis can’t be solved by few hundred refugee placements. Miliband used two more questions to press the case for ‘orphans who had lost both parents.’ Cameron said he was prepared to ‘listen to the arguments’. ‘I feel we are gradually inching forward on this issue,’ said Miliband.

The play to watch if your country is breaking up

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Of all the West End’s unloved venues the loveliest is the Arts Theatre. It specialises in creaky off-beat plays like Only Our Own by Ann Henning Jocelyn. We’re in Connemara, in the west of Ireland, in the early 1990s. A family of Anglo–Irish toffs are struggling to cope with their status as universal pariahs. Wherever they go they’re out of place. Catholic Ireland resents them. In England, their spiritual home, they feel like aliens. Titania, a narky teenager, is baffled by her parents’ religious prejudices and she merrily announces her involvement with a boozy local bumpkin. He’s Catholic, naturally. This prompts a bombshell of a speech from Titania’s grandmother, Lady Eliza, who witnessed a village insurrection in 1922 when she was just 11.

The ‘semi-detached’ member of Margaret Thatcher’s cabinet

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John Biffen was mentally ill. This is the outstanding revelation of Semi-Detached, a memoir which has been assembled from his diaries and from the autobiographical writings which he completed before his death in 2007. During the mid-1960s he tried psychotherapy, which he described as ‘lugubrious’, ‘painful’ and ‘not a cure’. He got far better treatment from a Harley Street specialist, Peter Dally, who regulated his lithium doses with blood tests and improved his health to the point where he felt able to join the shadow cabinet in 1976. He served as Trade Secretary under Mrs Thatcher and later as Leader of the House. Biffen loved gossip.

The Duck House is the best show in the West End

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It’s taken me a few months to catch up with the political farce The Duck House. Then again, it’s taken The Duck House a few years to catch up with the expenses scandal that it mocks. The story is set in the half-forgotten era of 2009. Robert Houston, a glib New Labour high-flier, is planning to defect to the Conservatives on the eve of the general election. His scheme, which is a little hard to decipher, is to stand for the Tories in his safe Labour seat and to persuade his Labour supporters to join him in a mass conversion to Conservatism. Having pulled off this piece of electoral magic, he expects to land a plum job in the cabinet as soon as Cameron is returned to power.

PMQs sketch: a subdued week, but the bear-pit will be back

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It’s a whole new kind of politics. The subdued atmosphere at PMQs had two possible causes. First, the tragic death of Paul Goggins had stunned the House into near silence. Ed Miliband seemed close to tears as he paid his tribute. ‘Labour has lost one of its own, and one of its best.’ Moving to more substantial issues, Miliband chose the neutral topics of monsoons and roulette machines. He saluted the work of the flood-wardens and the efforts of courageous citizens who had leapt to each others’ aid during the storms. Cameron replied by vowing that river defences would be reinforced with huge sandbags stuffed with cash. Then Miliband moved to fixed-odds betting machines.

Get tickets for Emil and the Detectives, and opera glasses — some of the child actors are tiny

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It starts with a brilliant joke. We’re in the Weimar Republic in 1929. Little Emil Tischbein is listening to his mother and a moaning neighbour, Mrs Wirth, lamenting Germany’s loss of moral fibre. Mrs Wirth cites a recent gangster film whose depravity shocked her to the core. ‘We saw it three times,’ she adds.  Forewarned about thieves and hoodlums, Emil travels to Berlin carrying a precious cargo of 140 marks. A sinister stranger robs him on the train and he befriends a gang of Berlin school-kids who set off to retrieve his cash. Erich Kästner’s classic is directed with great style by Bijan Sheibani, who captures much of the book’s verve and atmosphere.

PMQs sketch: This being Yuletide there were some turkey ticklers

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Christmas is excellent news for a Labour opposition. The season of goodwill throws rich and poor into sharp relief. Red-faced aldermen gather at loaded tables to gobble up roast goose and plum-duff. And afterwards they throw sixpences at starving chimney-sweeps who scrabble for crusts of bread in the snow. At least that’s how it should be. But Labour is in trouble this year. A dearth of bad news has gripped the country. There’s a chronic shortage of shortages. And the lack of a serious crisis is reaching crisis proportions. Ed Miliband is suffering. He looked positively nauseous as he stood up at PMQs and applauded the ‘welcome’ fall in joblessness. ‘More!’ shouted the Tories. Miliband’s lips curled queasily.

Jude Law’s Henry V is a buccaneer leading a stag-night raid across the continent — but he’d be a great Macbeth

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Henry V is the final show in Michael Grandage’s first West End season. The theatre was full to bursting on press night. Jude Law, in the title role, had attracted a crowd of autograph hunters, who shivered outside the stage door. One was a tall, chubby young man in loose grey clothes wearing a bobble hat and a very kindly grin. His flies were undone. The play itself is a disjointed, rambling affair. Poorly shaped, and even a little artless, it’s crowded with fights, bloodshed and laddish humour. The scenes of brutality are offset by soaring passages of patriotic verse that have been quoted into overfamiliarity. There was much coughing and guttural distraction throughout the performance. Grandage aims for handsome, elegant informality and here he scores full marks.

Is this the real First Lady of ‘Borgen’?

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I meet Birgitte Hjort Sorensen in a plain office near the Donmar Warehouse in the West End. She’s warm, sharp and engaging, and her fast-flowing English is adorned with the odd Eurotrash platitude. Her American twang owes itself to the global language school of television. ‘I watched a lot of American and English TV growing up. We have it subtitled, not dubbed. Denmark is such a small country and nobody’s going to speak Danish outside of Denmark.We kind of have to learn.’ She’s about to appear as Virgilia in Coriolanus at the Donmar. How does she find playing the wife of a tyrannical anti-hero? ‘Interesting in that she doesn’t talk a lot compared to some of the other characters, who talk quite a lot.

PMQs sketch: The snarling between Cameron and Balls enters fresh territory

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Christmas is here. And Ed Miliband’s script writers have already got their present. The sack. Really, he seems to have let them go. At PMQs he was reading out insults that pre-date Nicholas Parsons. Out of touch, complacent, the plaything of millionaires. Cameron can fight off such jibes his sleep. Tory backbenchers asked questions full of happy economic tidings. Conservative constituencies are alive with commercial euphoria. New investment, new apprentices, new customers. It’s all thanks to this wise and decisive government. Cameron duly lapped up the credit. Peter Lilley revealed his personal remedy for the proposed pay hike for MPs. ‘Re-table the Boundaries Commission report!’ he advised. In other words fewer MPs with higher salaries.

You can’t have Mojo and your money back

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In 1992 Quentin Tarentino gave us Reservoir Dogs. At a stroke he reinvented the gangster genre and turned it into a comedy of manners with a deadly undertow. This new mutation looked as if it might be easy to copy. Many tried. Among them was Jez Butterworth, whose 1995 play Mojo takes Tarantino’s zany-macabre format and moves it to Soho in the 1950s. Butterworth also leans heavily on Pinter. The play opens in the back-office of a nightclub. Two pilled-up criminals are exchanging streams of lairy London chit-chat. Their boss, Ezra, has discovered a teenage heart-throb named Silver Johnny but rival gangsters are keen to muscle in and grab a piece of the star’s income. The details are hard to follow because the jabbering thugs leap so fast from one topic to the next.

PMQs sketch: Clegg has fun on the train set, but he’s killed chances of a Lib-Lab pact

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Crash-bang-wallop. The chances of a Lib-Lab pact in 2015 have just gone hurtling through the floor. David Cameron is away in Beijing looking for Chinese venture capitalists who can turn Britain into the new Africa. Nick Clegg took his place at PMQs. He lost no time socking it to Labour. They were intellectually bankrupt, he said, and economically illiterate. Their energy policy was a con. And union stooges were swamping their membership lists. Harriet Harman hit back. ‘Leave it to us to worry about our party members,’ she said, ‘especially as so many of them used to be his.’ She dismissed Clegg’s favourite idea that he acts as a brake on Conservative policy. ‘He’s the accelerator,’ she gloated.

Sketch: Alan Rusbridger’s select committee interrogation

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Guardian editor, Alan Rusbridger, was quizzed about the Snowden leaks in select committee today. The chair was amply filled by Keith Vaz who always comes across as well-fed, well-meaning and well-nigh useless. He began by thanking the Harry Potter clone for showing up at all. ‘I didn’t know it was optional,’ said Rusbridger frostily. Vaz wondered if the Guardian boss loved his country. Rusbridger affected surprise at the question and said he loved our principles of free speech and democracy. He was a patriot. Labour members toadied up to him and hailed his paper as a champion of liberty. But the Tories were ready to lock him in the slammer and grind the key into iron filings.

Ben Miller interview: ‘Everyone was doing alternative comedy. I thought I’d distinguish myself by just telling jokes’

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Ben Miller is wolfing down a pizza. I meet the comedian in a Cambridge restaurant where he demolishes a Margherita shortly before racing off to appear on stage in The Duck House, a new farce about corrupt MPs. The show is set in 2009. Miller stars as a Labour backbencher who wants to jump ship and join the Conservatives. But first he has to convince a Tory bigwig that his expenses claims are entirely legitimate. He’s not helped by his dim-witted wife, his corrupt Russian cleaner, and his anarchist son, Seb, who has sublet the family flat in Kensington to a suicidal Goth. The writers Dan Patterson and Colin Swash wanted to stage the play just before the 2010 election. Miller believes this would have been premature.