Lloyd Evans

Listing page content here Good and evil slug it out in Paradise Lost. Good triumphs, just about. So, too, in the Oxford Stage Company’s version of Milton’s epic, where flashes of brilliance overcome a few choppy patches. The staging is simple and sometimes powerful but the costumes are a poor blend of mediaeval pastiche and modern party-gear ripped up and spattered with blood. The ensemble playing is very strong and at least one of the visual settings — where Satan surveys the solar system — is extraordinarily beautiful. But the text has been fiddled with a lot. I was surprised by unMiltonic phrases like ‘Let us recognise’ and when I got home I checked my 1674 edition, with its wonderfully gnarled spellings.

When he wrote Enemies, Gorky was in love. The object of his desire was the artistry of Chekhov and this 1906 play is his attempt to emulate the master’s theatrical style. Copying from geniuses is risky. Any attempt is doomed, so it’s remarkable that Gorky fails so successfully. He reproduces Chekhov’s entire theatrical caboodle, the bubbling samovars, the smocked peasants, the candles glimmering through the silver birches, the bickering, lounging, drunken toffs, and to all this he adds an element of revolutionary prophecy. A local factory-owner stands up to Marxist agitators, but when he closes down the factory he is murdered by a mob.

‘Quelle catastrophe.’ Thus Samuel Beckett on hearing that he had won the Nobel Prize in 1969. He would doubtless have been similarly disdainful of the events arranged to mark his centenary, which falls on 13 April. A disregard for fame and success, and even for his followers, was one of Beckett’s artistic hallmarks and it stems from his extraordinarily painful and prolonged emergence as an author. Why care about his reputation or his readers? For half of his life he had none. He was born in 1906, to prosperous Dublin Protestants, and educated at Portora, the same school as Oscar Wilde. He was an all-rounder.

Southwark Fair by Samuel Adamson. Ever heard of it? Nor me but it sounds like a sprawling comedy of manners written by some forgotten Enlightenment wag. I trotted along to the Cottesloe full of expectation but I was in for a let-down. Samuel Adamson is no wag. Nor is he enlightened. And as for forgotten, well, it won’t take long. The play, staged on the South Bank of the Thames, is also set on the South Bank of the Thames. Good idea? Possibly. But as the action unfolds you quickly see what trouble the author has given himself by disregarding one of the basic conventions of drama. Most plays are set in the home or the workplace.

What was I thinking? A fortnight ago I berated the hammy, eggy, lardy, puddingy acting style of the RSC. Well, here’s a play where grandiosity, exaggeration and overemphasis are perfectly suited to the material. It’s the early days of the Roman Empire. Tiberius has retreated to the sun-kissed paradise of Capri in order to murder and eat children, or whatever he got up to there. His dominions have fallen into the hands of Sejanus, a psychotic upstart with imperial ambitions. Barry Stanton plays Tiberius as an avuncular devil with a voice as rich and smooth as a cup of hot chocolate. It’s hard to imagine this cuddly old bear warming his feet, as Tiberius was said to do, in the slit bellies of freshly slaughtered girls.

On Ego is a lecture that turns into a nightmare. An amiable young neurologist, Alex, strolls on stage and addresses us on the subject of mind. He has a lab technician Derek (Robin Soans wearing a white coat and a lost gaze), who presents him with a bucket containing a brain. Alex picks up the dripping ‘lump of meat’ and uses it to illustrate Francis Crick’s observation that ‘Conscious experience is not caused by the behaviour of neurons. It is the behaviour of neurons.’ The show then evolves, by a series of sudden shifts and jerks, from a monologue into a drama. Derek the lab assistant turns out to be more talented than he first appeared.

Ten strangers having a black-tie dinner in an airport lounge. That’s the opening tableau of And Then There Were None. The airport lounge turns out to be a posh house on a tiny island to which the guests have been invited by an absent puppet-master named U.N. Owen. Speaking from a pre-recorded LP, the mysterious host accuses each diner of having committed a murder. Naturally, they deny the allegations. It’s not exactly a frisky opening. Ten charges, ten rebuttals. The play silts up in a stream of explanatory jabber. Then the bumpings-off start. A chortling fool drops dead in a pool of jam. The maid is throttled during an afternoon catnap. A white-haired booby gets Trotskied with a pick-axe.

A rush of air. A mighty whooshing. That was the noise that filled my ears during the opening five minutes of On the Ceiling. It was the horrid turbulence of weighty ideas being picked up and flung earthwards to no good effect. Nigel Planer’s new comedy has such a brilliant and simple theme that you wish it’d been thought up by anyone other than him. We’re in Rome at the height of the Renaissance. Michelangelo is engaged in the greatest mission of his life, the painting of the Sistine ceiling. Two assistants, awaiting their absent employer, idle away the hours discussing the maestro’s abilities, his character and his place in the history of art. Serious and fascinating material which Planer transforms into an unserious, anti-fascinating mess.

Interesting news from the world of conjuring. Magicians don’t believe in magic any more. Marc Salem, one of the new breed of sceptical illusionists, isn’t a clairvoyant or a mind-reader but a ‘professor of non-verbal communications’. And he boosts his university income by sitting in on CIA interviews to help the spooks decide when a suspect is lying. I certainly wouldn’t like to face him across the interrogation room. He’s as wide as he is tall, and he wears a black frock-coat which makes him look like a cross between a mad rabbi and a Victorian undertaker.

Strange goings-on at the Globe. After a Tempest performed by Mark Rylance as a Reduced Shakespeare skit, we now have Pericles directed by Kathryn Hunter. This is a tricky, strange and fascinating dream-work. The text is so complex and elusive that the obvious approach is to play it straight and let the audience’s imagination fill in the gaps. Imagination. Audience. Not words many directors would welcome, since they imply a minimum of intervention. And here we have maximum intervention. Kathryn Hunter has created a brash, stylish, modern-dress production which unfolds like a set of magazine photo-shoots. Everything is gorgeous, calculated, cocksure and superficial.

Hard to know where to start with On the Shore of the Wide World. The title, maybe: a sweet, rambling, lyrical phrase made up of vacuous and seductive borrowings. Like the show. We open with Susan, played by Susannah Harker, waddling on stage, apparently up the duff. Her aggrandising tum operates as a sort of clock during the action. At two o’bump she is flirting with her builder, Peter. By five o’bump one of Peter’s sons has left home. By eight o’bump Susan seems on the brink of beginning an affair with him. But at nine o’bump the prodigal returns, Peter makes it up with his wife and the family gathers for a big cosy hug and a nice bag of chips. That’s about it.