Lloyd Evans is The Spectator's sketch-writer and theatre critic
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Are we barmy or what? Our mawkish obsession with the first world war demonstrates that we’re in the grip of a mass delusion: institutional sentimentality. The latest symptom of our death-mania is Nick Dear’s engaging play about the pastoral poet Edward Thomas, who was killed in action in 1917. Thomas began writing verse aged 36
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A muted PMQs today. But Cameron opened a fresh offensive which may prove to be a blunder. The leaders began by discussing the Gaza crisis in bland and soporific tones. The absence of heat and noise from the debate indicates how little it affects Britain. And how little Britain affects the debate. Cameron and Miliband
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An orgy of navel-gazing on the South Bank where a national treasure is satirising the National Trust at the National Theatre. Alan Bennett sets his latest comedy in the drawing room of a crumbling Georgian mansion in South Yorkshire. Greedy speculators are queuing up to seize the house from its plucky owner, Lady Dorothy Stacpoole,
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Simon Hoggart has spent 20 years going to Westminster to annoy people. He entertains no high-minded delusions about politics and he writes his Guardian sketches in a state of amused bewilderment by the sheer barminess and abnormality of most parliamentarians. This collection reads like the diary of an intelligent, mild-mannered child whose parents happen to
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Nadine Dorries sidled back into view last night on ‘I’m Celebrity … Get Me Out Of Here.’ The show is a parody of transportation. A gang of well-known show-offs are rounded up and removed to Australia where they endure privation and meagre living. They wear prison uniforms with serial numbers stencilled on the back. Phones
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Uncle Vanya comes into the Vaudeville at an artful slouch. Lindsay Posner’s take on Chekhov’s story of bickering Russian sophisticates has an unusual visual style. In Britain we’re used to seeing Chekhov set in some fading Palladian mansion just outside Haslemere or Bath. Designer Christopher Oram has rummaged through the archives and discovered some hideously
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This is a story of impossible gifts. The Chancellor, George Gideon Oliver Osborne, stands to inherit a 17th-century baronetcy and a large fortune accumulated by his enterprising father. He was also blessed with intelligence, charm, ambition, eloquence and the mysterious ability to seek out power and use it for his own ends. His biographer, Janan
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With the prime minister abroad flogging jets to tyrants, Nick Clegg was left to play the statesman at PMQs. He was opposed by Labour’s Harriet Harman. Once a plucky and hard-working performer, Harman is now entering her Elvis-in-Vegas phase. She can remember the words but can’t find the feeling. She accused the Lib Dem leader
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Martina Cole is a rarity among novelists. Her work is set in the ugly, male-dominated world of London’s criminal fraternity and yet nearly all her fans are women. Blonde women, in particular, as I found out when I took my seat in the Theatre Royal Stratford East to see Patrick Prior’s adaptation of her breakthrough
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Ed Miliband had fun with his dressing-up box today. At PMQs he tried on all kinds of disguises in the hope of scaring the government. First Europe and the EU budget negotiations. Miliband’s approach here is full of cunning and dishonesty. He called for ‘real terms reduction’ even though he knows full well that a
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One departs and three more come charging in. It’s always rush-hour for Chekhov in the capital. As the Young Vic’s production of Three Sisters is drawing to a close, the Vaudeville is preparing to host a star-studded version of Uncle Vanya. Up the road, at the Novello, another Uncle Vanya is about to arrive from
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Covent Garden, 1833. Edmund Kean, the greatest tragedian of his age, has collapsed while playing the title role in Othello at the Theatre Royal. His son, Charles, is all set to take over and has just prised the lid off a trusty tin of boot polish ready to smear dark grease all over his peachy
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Goodness, he’s enjoying himself. Ed Miliband is brimful of confidence these days and he handles himself like a master juggler at PMQs. He flicks out deft gags and acerbic asides while keeping the central question in the air. He’s having fun. And it’s a pleasure to watch. Greatly helpful to him is the government’s pledge
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Wow. This is a turn-up. Politicians and actors rarely see eye-to-eye. Thesps regard Westminster as sordid, petty, corrupt and corrupting. Politicians, for their part, like to dismiss the theatre as pretentious, irrelevant and fake. So here’s a play that brings them together. This House, written by James Graham, and directed by Jeremy Herrin, is a
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It was a question of when not if. Today’s PMQs was always going to turn into a kangaroo inquiry into Andrew Mitchell. The man who said ‘pleb’ was in full view on the front bench but he looked as if he were sitting in the Number One dock at the Old Bailey. Ed Miliband started
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High ambitions at the Donmar. Artistic supremo Josie Rourke has chosen to direct one of Racine’s more impenetrable dramas, Berenice. The play introduces us to the emperor Titus, a besotted weakling, and his lover, Queen Berenice, an ageing sexpot from Palestine. Berenice wants to become Titus’s official squeeze but the xenophobic Romans don’t care for
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I’ve just come back from India. At least that’s how it feels after a double attack of subcontinental drama. Tara Arts, in Wandsworth, has relocated Molière’s The Miser to modern India and commissioned a script from the Glaswegian standup, Hardeep Singh Kohli. He brings the two cultures together with the insouciant aplomb of an experimental
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We all know Edwina Currie as a shrill, tasteless, attention-seeking Thatcherite nuisance from Liverpool. But the private Edwina — as revealed in her Diaries: Volume II, 1992-97 (Biteback, £20) — is thoughtful, engaging, witty, kind-hearted and, politically, very astute. Has anyone framed a neater analysis of John Major’s idiotic ‘Back to Basics’ drive than this?
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The Charing Cross Theatre has followed the trends of performance art for more than a century. It used to be a music hall. Then it put in a stint as a cinema. Now it’s a small theatre and it specialises in experimental comedies. The Man on her Mind fits the bill nicely. It opens with
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Here comes Jane Asher. She swings through the doors of a small Chelsea hotel, chucks her bag on the floor, and sits down with an expectant look. Her voluminous red hair has attractive hints of something blonder on top. Her eyes are pale blue, and extraordinarily intense, and she has a fulsome rack of plump
