Lloyd Evans

Lloyd Evans

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

A flop: The Curious Case of Benjamin Button, at Ambassadors Theatre, reviewed

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The Curious Case of Benjamin Button carries a strap-line, ‘an unordinary musical’. Perhaps the word ‘extraordinary’ is simply too banal to capture the outstanding qualities of this unique show. The year is 1918 and a miraculous birth occurs in a remote Cornish fishing village. The newborn is not a baby but an adult pensioner, Benjamin, who emerges from the  womb wearing a three-piece suit, a pair of spectacles and a bowler hat. His shame-faced mother hastens away from the family home and takes a walk along the cliffs, which results in her death. Suicide, perhaps. And Benjamin’s angry father locks him in the attic and refuses to let him out. Benjamin escapes and visits the local pub where he enjoys a single pint of ale every Friday night for the next four years.

Kemi’s childish PMQs debut left a lot to be desired

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Slightly childish and she didn’t win. That’s how Kemi Badenoch fared during her first bust-up with Sir Keir Starmer at PMQs. She began with a snippy reaction to his gag about the Tory party’s penchant for changing its commander-in-chief. Sir Keir said that Kemi was the fourth leader he’d faced in less than five years. She took this personally. ‘Thank you for that almost warm welcome,’ she carped. She then quoted David Lammy’s comment about Donald Trump. ‘A neo-Nazi woman-hating sociopath,’ Lammy had said, before his promotion to foreign secretary. She asked Sir Keir to apologise. An easy question to duck and Sir Keir took the opportunity to pose as an international power broker.

A riveting show crammed with the kind of risky gags rarely heard on stage these days

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How To Survive Your Mother is a play based on a memoir by political dramatist Jonathan Maitland. He portrays himself in the show, and he muses on the wisdom of turning his manipulative, devious, sex-mad mother into a dramatic heroine. In the end, he’s swayed by ‘Edinburgh derangement syndrome’ as he calls it. ‘You’re diagnosed with terminal cancer and you think: “Great, there’s a show in this.”’ Maitland’s account of his rackety childhood is crammed with risky gags rarely heard on stage these days His mother, Bru, was a Jewish refugee from Haifa who posed as a Frenchwoman with Spanish roots to protect herself from the anti-Semitic bigotry. Her self-taught skills included seduction, bribery and fake suicide attempts.

Rachel Reeves sounded bored by her own Budget

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The Tories lied! That was the thrust of Rachel Reeves’s first Budget today. She was very specific about the falsehoods. At the time of the spring financial forecast, she said, ‘they hid the reality of their public spending plans.’ Parliament and the public were the victims of ‘a cover up’ about pressures on our economy. The cunning Tories even duped the Office for Budget Responsibility by failing to provide ‘all the information’. But hang on. The OBR is staffed by the brainiest economists in the country, if not the world. Is possible that this synod of geniuses were duped by a few Tory wonks armed with dodgy spreadsheets? Reeves appears not to have asked why the OBR were so easy to swindle. She simply accepted their account of the fiddle.

Is Coogan’s Dr Strangelove as good as Sellers’s? Of course not

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Stanley Kubrick’s surreal movie Dr Strangelove is a response to the fear of nuclear annihilation which obsessed every citizen in the western world from the end of the Cuban missile crisis in 1962 until the fall of the Berlin Wall in 1989. The play’s co-adaptors, Sean Foley and Armando Iannucci, are old enough to recall that fear – but they’ve omitted any sense of collective anxiety from their adaptation. It’s a just a larky tribute to the movie, like a sketch show. Daft not disturbing. It turns out Dr Strangelove is like Father Christmas – more potent as a mythical abstraction than as a reality The story starts with an insane American, General Ripper, ordering a squadron of B-52s to nuke Russia before the communists can overwhelm the United States.

Angela Rayner’s drama-queen habit at PMQs

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‘The battle of the gingers.’ That’s how Angela Rayner described her tussle with Oliver Dowden at deputy prime minister’s questions today. But it was a cosy chat rather than a vicious duel.  Dowden probed Labour’s plan to fleece businesses by raising employers’ National Insurance contributions. Rayner disregarded the issue and drawled out a reply using experimental syntax. ‘I remember the party opposite what they said to business. What was it? “Eff to business,”’ she said. Dowden made little attempt to interrogate her and kept smirking and playing for laughs. ‘This is our last exchange across the despatch box,’ he said, fuelling rumours that he plans to give up his seat once Rishi Sunak’s replacement is announced.

Revenge tragedy for kids: The Duchess [of Malfi], at Trafalgar Theatre, reviewed

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The Duchess [of Malfi] has been partially updated by Zinnie Harris in a puzzling modern-dress production. The set by Tom Piper resembles a concrete bunker in an abandoned apartment block and Ben Ormerod’s lighting throws weird shadows across the playing area, which seems to consist mostly of discarded plywood sheets. It feels like a scout-hut production on a micro-budget. The second act involves gory scenes of homicidal violence staged with amusingly inept special effects Jodie Whittaker stars as the lustful Duchess whose destiny lies in the hands of her elder brother, the Cardinal, played by the entertaining Paul Ready. Whittaker’s role is clumsily arranged within the play and she spends a lot of time off-stage. And her character lacks emotional coherence.

Keir Starmer is full of bilge

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Who runs Britain’s foreign policy? Not the government, that’s clear. At PMQs, Sir Keir Starmer got a monumental roasting from Rishi Sunak whose patience seems to be wearing thin.  Technically, Rishi was asking questions but in fact he was correcting Labour’s latest raft of blunders. He began by urging the PM to have a discreet word with his foreign secretary, David Lammy, who appears to be learning on the job. Rishi suggested that Lammy should give China a rap over the knuckles for its ‘dangerous escalatory acts in the Taiwan Strait.’  Sir Keir nodded along. He agreed to ‘co-operate as a permanent member of the Security Council’ and he promised to ‘challenge on the point he makes where it’s needed.

Almeida’s Look Back in Anger is flawless

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Strange title, Juno and the Paycock. Sean O’Casey’s family drama is about a hard-pressed Dublin matriarch, Juno, whose husband Jack ‘the paycock’ Boyle refuses to support his family and spends all day drinking with his penniless cronies. The producers have labelled the show an ‘Irish masterpiece’, which raises the bar. Mark Rylance plays Jack as a stammering, dissembling, wisecracking malingerer and he’s terrific value on stage, of course, but he seems detached from the material. He performs like a star comedian stranded in a boring classic against his will and he pokes fun at the script rather than immersing himself in the story.

Confessions of a political gambler 

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What could be more exquisite than the life of the professional gambler? I began my career in 2016 with a modest punt of £1,000 on the London mayoral election. Bingo. Sadiq Khan won and I banked a profit of £100. Then Brexit. My guess was that the pollsters had overestimated support for Remain and that the country was keen to evict the conjoined twerps, David Cameron and George Osborne, from Downing Street. The referendum was our chance to vaporise both their careers simultaneously. One cross, two graves. That’s what happened. And I cleared another tidy sum. I cursed the day that I’d ever started gambling. I was a fool. A dunce. A clueless moron But I was haunted by a wager I’d laid in the winter of the same year while watching Fox News over a relaxing pint of Tesco claret.

Rishi Sunak is the most effective opposition leader since Tony Blair

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Rishi Sunak’s fleet-footed performance at Prime Minister's Questions exposed many of Keir Starmer’s shortcomings as Prime Minister. Sunak is the most effective opposition leader since Tony Blair and he mauled Sir Keir today with a blend of decent gags and wily tactics. The Tory leader has the advantage of resembling a human being, while Sir Keir seems as cold and lifeless as an oil drum. Starmer has only three debating tactics. Blame the Tories, blame the Tories, blame the Tories.  The Tory leader has the advantage of resembling a human being Sunak opened with a joke about Sue Gray in relation to Labour’s new deal for workers. When, he asked, did Sir Keir become a fan of fire-and-rehire?

How is Arnold Wesker’s Roots, which resembles an Archers episode, considered a classic?

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The Almeida wants to examine the ‘Angry Young Man’ phenomenon of the 1950s but the term ‘man’ seems to create difficulties so the phrase ‘Angry and Young’ is being used instead. It’s strange to encounter a theatre that’s scared of words. The opening play, Roots, by Arnold Wesker, looks at the conflict between town and country in 1950s Norfolk. Beatie, in her early twenties, returns from London and announces to her warm-hearted but unsophisticated family that her boyfriend, Comrade Ronnie, wants to meet them. He’s a pastry chef who supports a Marxist revolution and Beatie is eager to fight for everything he believes in.

Reform’s new AI ad is dispiriting and strange

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Digital modernity has reached the world of political campaigning. Reform’s new video is the first party political broadcast to use AI imagery and it opens as a movie trailer for a film entitled ‘Labour’s Britain.’ Swelling orchestral music and a growling voiceover introduce us to an X-rated horror show. The opening image depicts Gordon Brown flogging ingots to international traders at knockdown prices.  ‘From the people that sold the gold,’ intones the voiceover, ‘we bring you Labour’s Britain.’ https://www.youtube.com/watch?v=9luyHqdwBFs The trailer leads us through the three worst blunders of the new government. Robbing the elderly, surrendering to the unions and failing to stop the boats.

Inside the Welsh village where English speakers aren’t welcome

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On a Saturday morning, no life stirs. The village café is closed and the ancient church of St Beuno’s is locked and deserted. Beside the stone porch stands a dusty glass case that advertises church services and parish gatherings. Not a single event is scheduled. This is the peaceful village of Botwnnog (pronounced Bot-oon-awg) in the Llyn peninsula, north Wales, whose council recently rejected a plan to build 18 houses for rent. Few Welsh words have found their way into English, even though we inhabit the same island The language chosen by the council made headline news.

Faultless visuals – shame about the play: the National’s Coriolanus reviewed

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Weird play, Coriolanus. It’s like a playground fight that spills out into the street and has to be resolved by someone’s mum. The hero is a Roman general whose enemies conspire to banish him so he takes revenge by joining forces with a foreign power and laying siege to Rome. Coriolanus’s mother shows up on the battlefield and begs him to drop his vendetta and come back home. Later he dies but without delivering a big speech. The Roman soldiers have plastic swords that go ‘clack’ rather than metal ones that go ‘ching’ The key difficulty is that Coriolanus’s tragic flaw, a lack of ambition, is really a virtue. He’s far too noble for his own good and his disdain for power makes him annoying rather than admirable.

The show belongs to Jonathan Slinger and Ben Whishaw: Waiting for Godot reviewed

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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.

A massive, joyous, sensational hit: Why Am I So Single? reviewed

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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 rise of soapy, dead-safe drama: The Band Back Together reviewed

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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.

Has Keir Starmer forgotten that he’s prime minister?

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Shortly before noon, Sir Keir Starmer and his closest chums peeped out from behind the Speaker’s chair to see if it was safe to enter the chamber. Led by their boss, the furtive cabal of Granny-chillers sidled forward and tiptoed to their seats like naughty teenagers late for a geography class. What had they been doing backstage? Knitting cardigans for hypothermia victims perhaps. A few perfunctory chirrups greeted their arrival but most Labour MPs kept quiet. They were too scared to cheer the man who wants to raise cash by mugging pensioners this winter. Rishi Sunak went straight for Sir Keir’s weak spot and asked about an ‘impact assessment’ into his plan to fleece the elderly.  ‘The fact of the matter is,’ said Sir Keir, ‘they left a £22 billion black-hole.

Nothing gives Keir Starmer joy like banning things

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Power hasn’t altered Sir Keir Starmer. His frosty and unamused demeanour remains. No hint of warmth or joy has penetrated his defensive outer rind. He still looks like a mourner-for-hire at an oligarch’s funeral.  Today at PMQs he was faced by a quick-witted and forceful Rishi Sunak who clearly relishes the role of battering ram. The Tories may start to question the wisdom of replacing him. Which of their leadership candidates could match this masterclass in how to grill an incumbent PM? Rishi selected a single issue and hammered away at it until he got a useless reply. Then, having described how useless it was, he moved onto a new question. Today he managed to prohibit just one activity.