Lloyd Evans is The Spectator's sketch-writer and theatre critic
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Lloyd Evans joins the dissident movement in a ritual exercise near the Chinese Embassy. He is unsettled to find himself understanding why China’s rulers get so paranoid about them Bong. Up go our hands. Bong. Down come our hands. Bong. We bend our knees. Bong. We crouch down slowly. Bong. We sweep our hands around
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The Royal Court’s search for new scripts has gone global. Its tireless talent scouts, assisted by the British Council, fan out across France, Spain, Russia, Nigeria, Syria and Mexico laying on seminars, workshops and ‘residencies’. They go to India, too, although quite why the Court spends energy nurturing dramatists in a country with the world’s
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On the Rocks Hampstead In My Name Trafalgar Studios All Nudity Shall Be Punished Union Uh oh. Writers writing about writers writing. Amy Rosenthal’s new play is set in 1916 in a Cornish village. D.H. Lawrence, suffering from writer’s block, has suggested to the publisher John Middleton Murry and his lover Katherine Mansfield, who is
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Motion: Prince Charles was right: modern architecture is still all glass stumps and carbuncles. New rules at Intelligence Squared. For the debate on architecture the speakers were offered the use of a slide projector. Opening for the motion Roger Scruton described modern architecture as ‘a grammarless chaos’ in which buildings ‘aren’t made for the city
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Black Watch Barbican Whatever Happened to Cotton Dress Girl? New End Divas Apollo Disney does death. That’s how Black Watch looks to me. The hit show has arrived in London with its bracing portrait of the famous Highland regiment. All its tactics and traditions are presented without criticism, including its devious recruitment policy. Get
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2,000 Feet Away Bush Relocated Royal Court The Chalk Garden Donmar America is nuts about paedophiles. That’s the take-home message of Anthony Weigh’s new play 2,000 Feet Away, which stars Joseph Fiennes. The title refers to a provision of Megan’s law which sets out the minimum permissible distance between the home of a paedophile and
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Lloyd Evans on the perils of being both playwright and critic ‘No man sympathises with the sorrows of vanity.’ Dr Johnson was speaking of a poet who looked to his friends for solace after his verses had been savaged in the press. He got none. That’s the risk all artists take. I’ve been through this
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Afterlife Lyttelton Dickens Unplugged Comedy Afterlife is pH-neutral. It doesn’t enhance Michael Frayn’s reputation and doesn’t damage it either. Max Reinhardt was one of the great theatrical magicians of the 20th century and it’s easy to see what drew Frayn and his long-standing collaborator, the director Michael Blakemore, to the challenge of putting his life
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Rosmersholm Almeida Love — The Musical Lyric Fat Pig Trafalgar Studio A Norwegian melodrama about suicide, socialism and thwarted sexual passion. If you saw that on the poster would you be tempted? Nor me. Add the authorship of Ibsen and you might change your mind but you’d be unwise. Rosmersholm is a clumsy, unengaging late
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This ought to be a hit. The Les Mis team are back in the West End with another French classic. The Lady of the Camellias, by Alexandre Dumas fils, is the play that inspired Verdi’s La Traviata and the Garbo film Camille. Retitled Marguerite the story has been parked in wartime Paris where the leading
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The Deep Blue Sea Vaudeville The Birthday Party Lyric Hammersmith Pygmalion Old Vic Osborne crushed Rattigan. Crudely stated, that’s what we’re told happened in 1956 when Osborne’s demotic new voice displaced Rattigan’s classier, cosier manner. Even now Rattigan’s reputation hasn’t fully recovered and The Deep Blue Sea, which premièred in 1952, is the first of
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Lloyd Evans reports on the latest Spectator / Intelligence Squared event No debate this month at Intelligence Squared. Instead Gore Vidal is interviewed by Melvyn Bragg. The 800-strong crowd start to applaud even before Vidal reaches the rostrum. White-haired, frail and wheelchair-bound, he is modestly dressed in a dark suit but he exudes a dangerous
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King Lear Globe That Face Duke of York’s Beau Jest Hackney Empire Every time I see Lear I discover something old. It must be at least two centuries since somebody first noticed that one of the many factors that make this titanic play unplayable is that the great speeches are delivered by a bearded geriatric
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Tinderbox Bush The Year of Magical Thinking Lyttelton If you aren’t sure what to make of the present, try shoving it into the future. This trusted device is employed by Lucy Kirkwood (who writes for Channel 4’s admired show Skins), in her first stage play, Tinderbox. We’re in a nightmarish England, seared by Saharan heat,
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Big names at last Tuesday’s Intelligence Squared debate. Our beaming chairman Adam Boulton called on Will Self to propose the motion that America has lost its moral authority. In his sharp black suit, Self glared at us like an undertaker whose hearse has just failed its MOT and rattled through the sins of ‘the paternalistic
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Gone With the Wind New London Theatre How did they get it so wrong? Turning chicklit’s greatest story into a hit musical should have been a doddle. Just put the characters on stage and let the warm romantic breeze of the narrative carry you safely home. And that’s exactly what Trevor Nunn has done and
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Small Change Donmar War and Peace, I and II Hampstead Oh my God. Did that really happen? I knew nothing about Peter Gill’s 1976 play, Small Change, before arriving at the Donmar to see this revival under the author’s own direction. It’s a love letter, an immensely detailed and spectacularly superficial account of the working-class
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Wedding Day at the Cro-Magnons Soho The Internationalist Gate The Black and White Ball King’s Head You can tell when a culture has lost its way because it starts handing out awards. There’s a small club of annual prizes that have some legitimacy. Oscar, Bafta, Booker, Olivier, Nobel — all provide worthwhile verdicts on the
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Mike Leigh. Ground-breaking maverick or pretentious miseryguts? To ask the man himself isn’t perhaps the best way to secure an impartial verdict, but the personality that emerges in this series of interviews (composed with superb fluency by Amy Raphael) is an articulate, engaging, generous, highly original and occasionally peppery creative spirit. No British film-maker since
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Lloyd Evans on the extraordinary story behind Trevor Nunn’s ‘Gone with the Wind’ The heart sinks, almost. The brow droops, a little. A yawn rises in the throat and dies away. Another musical has opened in the West End and, yes, it’s based on a blockbuster movie and, yes, that too was based on a
