Lloyd Evans is The Spectator's sketch-writer and theatre critic
How much does it cost to change a light bulb? Three hundred quid, said David Cameron at PMQs today. Ed Miliband came to the House eager to pile more pressure on the PM and his unloved NHS restructuring plan. Cameron fought back by citing the health bungles Labour presided over while in office. Billions wasted
What does superstardom look like? Well, nothing at all. Like anonymity personified. The seriously big celebs, the ones for whom walking down the street is either irksome or potentially hazardous, develop a knack for blending into the background. When Patrick Stewart arrives to meet me at the Young Vic, I scarcely notice him. The jacket
Here he comes. Royalty’s favourite crackpot is back. Alan Bennett’s trusty drama, The Madness of George III, doesn’t really have a plot, just a pathology. The king is fine, he then goes barmy, he stays barmy for a bit, he gets bashed about by sadistic healers, then he recovers. It’s less a play and more
Miliband is getting the measure of PMQs. Not with respect to Cameron. With respect to himself. He’s learned that his strongest register — sanctimony — will always ring hollow unless it’s attached to a powerful cause. And his gags don’t work. So he’s ditched his team of funny men and wise-crackers and turned to his
Miles Bullough of Wallace and Gromit creators Aardman Animations on the pressure to move jobs abroad Shaun the Sheep is at the meeting too. I walk into the office of Miles Bullough, head of broadcast at Aardman Animations, and find him sitting opposite a four-foot model of the ovine superstar. I’m offered a seat, and an
Last November I suggested that Nicholas Hytner had gone mad. Now he confirms the diagnosis with a new satire by Nicholas Wright, Travelling Light, which is the most embarrassing and mindless blunder I’ve ever seen on a subsidised stage. Hytner’s November crime was to mount a retro sitcom about Stalin’s terror. Now he baits the
Incredible events in the chamber today. An absolute sensation at PMQS. For the first time since last summer, Ed Miliband got through the session without triggering talk of a leadership crisis. There was gloomy news aplenty to dwell on. Debts soaring; growth flat-lining; dole queues snaking back through blighted high streets and bankrupt business parks.
A year late but worth the wait. Last year’s centenary of Terence Rattigan’s birth brought two excellent revivals of lesser-known works, Flare Path and Cause Célèbre, to London. But the playwright’s personal story remains a subject of uncertainty and guesswork. Giles Cole’s little gem of a play, The Art of Concealment, brings the dramatist’s secret
What’s the point of Ed Miliband? Does the Opposition leader have any purpose in life other than to provide ritual entertainment for the Tory wrecking crew at PMQs? Having spent the New Year listening to lethal attacks from his dearest supporters, Mr Miliband has now seen his leadership shrivel to a pair of policy statements
In early new year, we play-goers hunker down at home. We shiver and fast, we murmur and groan. We sweat off the excesses of the Christmas wassail. No impresario will launch a West End opening with the audience in recess. And into this brief void surges the Finborough Theatre in Earls Court. Fog is a
Miliband survives! That news should steady Labour nerves. For today at least. Their leader has the knack of turning near-certain defeat into absolutely-certain catastrophe, but he bumbled through PMQs this afternoon without suffering a serious setback. He has so little ground from which to attack the government that he had to lead on a niche
‘Anyone here from the Spectator?’ Last night a packed meeting at Downhills Primary in Haringey began with this ominous query from the chairman, Clive Boutle, who leads a local campaign against academies. Seated at the side of the hall I kept quiet. ‘No one?’ said Boutle, ‘Great, we’re safe.’ The meeting had attracted about 800
Frank Rich loved it. ‘Noises Off,’ said the great N’Yawk critic, ‘is, was and always will be the funniest play written in my lifetime.’ Michael Frayn conceived the idea of writing a farce about farce while watching one of his early plays from the wings. The frantic hustle-bustle of the actors behind the scenes was
Director Phyllida Lloyd on Meryl Streep’s eerily accurate portrayal of the Iron Lady Maybe she’s lost interest. Perhaps she’s just knackered. Almost certainly she’s had a bellyful of listening to herself talking about her film, The Iron Lady. When I meet Phyllida Lloyd, who also directed the 2008 smash hit, Mamma Mia, I’m expecting to
Michael Grandage says farewell to the Donmar with a farewell play. Richard II tells of a glorious but profligate king compelled to hand over his realm to a workmanlike, Steady Eddie successor. Entirely devoid of romantic interest, and with only teeny-weeny roles for women, this is not a show-stopping Shakespeare favourite. It appeals to specialists
Juno and the Paycock is a slice of documentary realism from the earliest years of the Irish Free State. The skint Boyle family are living like a gang of hobbits in the leprotic ruins of a grand Dublin townhouse. The paint blisters and peels. Diseased mortar crumbles into scabby flakes. The plaster-work centrepiece on the
Inept, useless, incompetent, maladroit, hopeless, clumsy, crap. With thesaurus-rifling regularity Ed Miliband comes to PMQs and delivers a performance which is inept, useless, incompetent, maladroit, hopeless, clumsy and crap. The only virtue the Labour leader has is consistency. He’s consistently worse than last week. In theory he should have scored some damage today. Unemployment is
It’s the usual old muddle. You take a Shakespeare classic and you time-travel it to an alien century, usually the present one, which has no connection with its historic setting. The plan, we’re always told, is to generate that supremely irrelevant attribute, ‘relevance’. Director Dominic Cooke has fast-forwarded The Comedy of Errors to modern London
Ed Miliband had an open goal today. And he whacked it straight over the bar. Cameron was in trouble from the start. Having placated the rebel wing of his party with vague talk about ‘repatriating powers’ he is now expected to deliver. But he can’t make specific demands without weakening his hand at the negotiations
They can’t even be bothered to think of a decent title. Good thing too. The Riots, at the Trike, is a rush job, a gripping and pacey attempt to analyse the disturbances that engulfed Britain last August. Cops, criminals and community leaders have been interviewed by Gillian Slovo, who fashioned their statements into a dramatic