Lloyd Evans

Waiting for Godot is a church service for suicidal unbelievers. Those who attend the rite on a regular basis find themselves wondering how boring it will be this time. A bit boring, of course, but there are laughs to be had in James Macdonald’s production. The set resembles a Gazan bombsite with a tree-stump stranded in a pit of ashen rubble. Didi is played as a goofy English toff by Ben Whishaw who supplied the voice of Paddington in the movies. The bear is back.

Why Am I So Single? opens with two actors on stage impersonating the play’s writers Toby Marlow and Lucy Moss. You may not recognise the names but you’ve probably heard of their smash-hit, Six, which re-imagined the tragic wives of Henry VIII as glamorous pop divas. This follow-up show is a spoof of vintage musicals and it’s deliberately knowing and self-referential. That’s why the authors are played by members of the cast, and they start with a few disparaging quips about Mamma Mia! and other West End fare. They even call the audience at the Garrick ‘riff-raff’, which seems a little charmless.

The Band Back Together is a newish play, written and directed by Barney Norris, which succeeds wildly on its own terms. It delivers a low-energy slice of feelgood nostalgia involving three musicians who reunite in their hometown of Salisbury. The action consists of talk and songs, more talk, more songs, some cider-drinking and a surprise ending to convince the audience that it was worth the wait. The play was commissioned by Farnham Maltings, an arts centre in Surrey, whose aim is to ‘bring artists, makers and communities together’ and it feels a bit am-dram. The script has no conflict, suspense or uncertainty. No harrowing emotions or life-changing experiences. It’s just a pipe-and-slippers get-together involving three has-beens who once shared a stage as musicians.

Shifters has transferred to the West End from the Bush Theatre. It opens at a granny’s funeral attended by the grief-stricken Dre, aged 32. Dre was raised by his ‘Nana’ as he calls her – rhyming it with ‘spanner’ – and he weeps when he realises that his mother has failed to show up. A beautiful young woman arrives unexpectedly. This is Dre’s teenage sweetheart and they exchange gossip over a glass of whisky while rummaging through Nana’s belongings. The press night crowd adored these flawless yuppies. An artistic embarrassment but a sure-fire hit The lovebirds met at school where they studied philosophy and outshone all their rivals in the class.

The Turbine Theatre is a newish venue beneath the railway arches of Grosvenor Bridge in Battersea. The comfy auditorium is furnished with 94 cinema seats and the only snag is the scent of mildew clinging to the plasterwork. Overhead, the rumbling commuter trains create the perfect soundscape for Cockfosters, a zany rom-com set on the Tube. Two travellers meet by accident on a Piccadilly line service departing from Heathrow Terminal 3. James is a nerdy public-school reject who spots a fellow traveller, Victoria, struggling to shift three monster suitcases onto the train. Obeying Tube etiquette, he makes no attempt to help her and they sit in adjoining seats without acknowledging each other. Beside them are two passengers engrossed in royal biographies.

Dr Phil Hammond is a hilarious and wildly successful comedian whose career is built on the ruins of the NHS. His act has spawned a host of imitators on the stand up-circuit and they share Dr Phil’s confused adoration for the NHS. All of them love the idea of universal healthcare but they dislike the messy practical details. And they’re convinced that extra cash will save the system. The evidence suggests otherwise; handing more money to the NHS is like giving a gambling addict the keys to a bullion van. The gallows humour is delightful if you’re not stuck in an NHS queue Dr Phil claims that he would gladly pay higher taxes because the NHS has to scrape by on ‘third-world funding’. This is part of the difficulty.