Lloyd Evans

Therapy seems to be the defining theme of this year’s Edinburgh festival. Many performers are saddled with personal demons or anxieties which they want to alleviate by yelling about them in front of a paying audience. Professor Tanya Byron puts it like this in the Pleasance brochure: ‘Therapy is where art and story-telling combine.’ This

Slave Play is a series of hoaxes. The producers announced that ‘Black Out’ performances would be reserved for ‘black-identifying’ playgoers but the ticketing system is colour-blind and these so-called ‘segregated’ shows were attended by audiences of all ethnicities. The PR gambit generated lots of free publicity, but these stunts don’t always translate into ticket sales.

Our subsidised theatres often import shows from the US without asking whether our theatrical tastes align with America’s. The latest arrival, The Hot Wing King, is a Pulitzer Prize-winning play about unhealthy eating. The production opens in a luxury house in Memphis, occupied, rather strangely, by four gay men who dress gracelessly in cheap, flashy

Visit From An Unknown Woman, adapted by Christopher Hampton from a short story by Stefan Zweig, opens like an episode of Seinfeld. A playboy writer enjoys a fling with a black-clad beauty – but when he kisses her goodbye, he can’t remember her name. It feels like a set-up for a gag, but the script

Yosser Hughes is regarded as a national treasure. He first appeared in 1982 in Alan Bleasdale’s TV drama, Boys from the Blackstuff, which followed a crew of Liverpool workers who lay tarmac (‘black stuff’) for a living. When their contract expires the lads are left shocked and helpless even though job security is not a

The Constituent is a larky show about violence against female politicians. A strange subject for a comedy. Anna Maxwell Martin plays a vapid but well-meaning MP, Monica, who receives unwelcome attention from a sinister dropout, named Alec (played by James Corden). Alec’s backstory is quite a puzzle. He used to work as an MI6 spymaster

Some Demon by Laura Waldren is a gem of a play that examines the techniques of manipulation and bullying practised by shrinks on anorexics. The setting is an NHS referral unit where Sam, an 18-year-old philosophy student, arrives with a minor eating disorder. Like every patient, Sam is told that her personality is immersed in

Marie Curie: The Musical is a history lesson combined with a chemistry seminar and it’s aimed at indignant feminists who want to agonise afresh over the wrongs of yesteryear. We meet the young Marie, wearing her signature widow’s frock, as she speeds towards Paris on a train from Poland. The essential materials of this musical

Every Hamlet is a failure. It always feels that way because playgoers tend to compare what they’re seeing with a superior version that exists only in their heads. And since disappointment is inevitable, it’s worth celebrating the successful novelties in Eddie Izzard’s solo version. He makes some valuable breakthroughs, especially in the comedic sections. Izzard

Romeo & Juliet is Shakespeare with power cuts. The lighting in Jamie Lloyd’s cheerless production keeps shutting down, perhaps deliberately. The show stars Tom Holland (also known as Spider-Man) whose home in Verona resembles a sound studio that’s just been burgled. There’s nothing in it apart from a few microphones on metal stands. He and

After nearly 40 years, Withnail has arrived on stage. Sean Foley directs Bruce Robinson’s adaptation, which starts with a live rock-band thumping out a few 1960s hits. The musicians take cameo roles as maids and coppers. The show needs a larger cast especially for the tea-room scene – ‘We want the finest wines available to