Theatre

It’s no Jerusalem: Jez Butterworth’s Hills of California, at Harold Pinter Theatre, reviewed

Fifteen years after penning his mega-hit Jerusalem, Jez Butterworth has knocked out a new drama. The slightly baffling title, The Hills of California, refers to a hit by Johnny Mercer (the US songwriter not the MP for Plymouth) and it suggests American themes and locations. But the show is set in a knackered old Blackpool boarding house in the 1970s, where three sisters are waiting for their elderly mum to croak. It takes an hour of chit-chat to explain what’s happening. When the sisters were little, their ambitious mother forced them to perform song-and-dance routines in the hope of launching them as kiddie superstars on the new medium of television.

Do we really need this unsubtle and irrelevant play about Covid?

Pandemonium is a new satire about the Covid nightmare that uses the quaint style of the Elizabethan masque. Armando Iannucci’s play opens with Paul Chahidi as Shakespeare introducing a troupe of players who all speak in rhyming couplets. A golden wig descends like a signal from on high and Shakespeare transforms himself into the ‘World King’ or ‘Orbis Rex’. This jocular play reminds spectators with a low IQ that Orbis is an anagram of Boris. The former prime minister, also labelled the ‘globular squire’, is portrayed as a heartless, arrogant schemer driven by ambition and vanity. He retells the main events of the pandemic with the help of an infernal

Why the story of the Holocaust still needs telling

In Chekhov’s The Seagull Dr Dorn is asked which is his favourite foreign city. Genoa, he replies: in the evening the streets are full of strolling people and you became part of the crowd, body and soul. ‘You start to think there really might be a universal spirit,’ he says. I remembered Dr Dorn when I was discovering Genoa in October. Then it suddenly came to me that I had been to the city before. Genoa was where my family embarked for the Far East, when I was 18 months old, fleeing the Nazis. I don’t know about the universal spirit, though. I’m reading Enemies and Neighbours: Arabs and Jews

Just how much lower can the Conservatives sink?

This is the year in which Michael Gambon died, so by definition a grim one for theatre. Of all the tributes, one of the most acute was by Tom Hollander, who recalled how expressive Gambon’s voice was after 30 years on stage. He could reach hundreds of people while seeming to address only one or two. That’s essential theatre acting. When Gambon turned to cinema, his voice had become supple and mellow. It set me to thinking of other great cinema voices. Simone Signoret came first to mind. Then Jeanne Moreau, James Mason, and above all, Henry Fonda. These actors have you at hello. I would have added Marlene Dietrich,

What a muddle: The House of Bernarda Alba, at the Lyttelton Theatre, reviewed

Green, green, green. Everything on stage is the same shade of eau de Nil in the NT’s version of Federico García Lorca’s classic, The House of Bernarda Alba. All the furniture and props are green. The mirrors, the walls, the crucifixes, the clocks and even the bucket and the knife-rack bear the same queasy pigment. The idea, perhaps, is to suggest a lunatic asylum or an NHS waiting room. Lorca’s steamy tale is set in a remote Spanish village in the 1930s where life is dominated by the repressive and superstitious Catholic church. The story opens with a nasty matriarch, Bernarda Alba, celebrating her husband’s death by ordering her five

Our theatre critic applies to be director of the National Theatre

The director of the National Theatre will be stepping down in 2025. I’ve written to the chairman offering a new vision for Britain’s leading playhouse. Dear Sir Damon Buffini, I’m a reviewer of plays and a part-time theatre producer. In the past 20 years I’ve seen more than 2,000 shows, hundreds of them at your venue, and here is my plan to transform the NT. Britain’s dramatic heritage is the best in the world and our national theatre should meet that standard of excellence. Three simple reforms to start with. US stars crave the prestige offered by the NT. Each year we will hire half a dozen Oscar-winning actors One:

Comedy of the blackest kind: Boy Parts, at Soho Theatre, reviewed

There’s something mesmerising about watching a good mimic. And Aimée Kelly, who plays fetish photographer Irina Sturges in Soho Theatre’s Boy Parts, is a very good mimic. Across the 80 minutes of this one-woman performance, she inhabits the bodies of dozens of characters, each a carbon copy of the worst kind of person: oleaginous city bankers; shrill, hysterical twenty-something women; ‘Andrew Tate-core’ men. An unnamed boy ends up as nothing more than a severed head Her sneering representations of these characters instruct us to see them (whether we want to or not) as Irina does: pathetic and deeply undesirable. It’s uncomfortable. Irina is a narcissist which is enforced, immediately, by

If only Caryl Churchill’s plays were as thrillingly macabre as her debut

The first play by the pioneering feminist Caryl Churchill has been revived at the Jermyn Street Theatre. Owners, originally staged in 1972, feels very different from Churchill’s later work and it recalls the apprentice efforts of Brecht who started out writing middle-class comedies tinged with satirical anger. Churchill sets her play in the cut-throat London property market where prices are soaring and tenants are apt to be evicted if they can’t cover sudden rent rises. Marion is an estate agent who secretly buys a house occupied by her former lover Alec who is married to Lisa. Their third child is on the way. Marion hatches an evil plan to kick

Why do I need security guards so I can play Shylock?

These are very odd times. The project of my life – The Merchant of Venice 1936, which sets Shakespeare’s play in East End London during the rise of Oswald Mosley’s Blackshirts – was postponed because of Covid, but is now alive and kicking. It’s kicking hard. We’re on a ten-week tour and I’ve been moved beyond words at the reactions of audiences and critics. Yet for the last week, the production has had to have security men around keeping an eye on things. It’s like a dystopian nightmare. A Jewish actress putting on a play about anti-Semitism which needs to be made secure because of Jew-hating extremists. As one reviewer

Lloyd Evans

Scherzinger is superb but why’s the set so dark and ugly? Sunset Boulevard, at the Savoy Theatre, reviewed

Sunset Boulevard is a re-telling of the Oedipus story set in the cut-throat world of Hollywood. Pick a side in this tortured yarn. There’s Norma, a burned-out sex-goddess, who wants to make a comeback as a teenage ballerina in a dance epic. Or there’s Joe, a penniless scribbler, who becomes Norma’s reluctant toyboy while he works on her doomed screenplay (which stands for a stillborn child). Clinging to Joe is Betty, a drippy girlfriend who represents escape and artistic integrity. The final piece in the jigsaw is Norma’s discarded husband, Max, who stands for sadistic and destructive obsession. Each day he sends Norma a new batch of counterfeit love letters

As gripping as an Agatha Christie thriller: Shooting Hedda Gabler, at the Rose Theatre, reviewed

The unlovely Rose Theatre in Kingston is a modest three-storey eyesore. The concrete foyer looks like an exercise area on a North Sea oil platform, and the auditorium itself is a whitewashed rotunda that resembles the chapel in a newly built prison. Yet this cheerless, functional space is perfect for a mischievous new satire, Shooting Hedda Gabler, about recent developments in the acting trade. The central character, Hedda (Antonia Thomas), is a washed-up American starlet who wants to gain artistic credibility by taking the lead in a pretentious film version of Hedda directed by Henrik, a tyrannical Norwegian auteur. ‘There is no script,’ he announces on the opening day. But

London e-bike blight

The past few weeks have been spent in the enclosed rehearsal spaces of the Ambassadors Theatre in London’s West End, preparing and finally opening in Private Lives. Shut off from the world as I am, we could have become a colony of North Korea for all I know. And yet some things do penetrate – who could fail to be horrified and appalled by the twin disasters in North Africa recently? These two devastating events have resulted in the deaths of an ever-rising number of tens of thousands of people. And yet they already seem to have dropped off our news coverage. Has the enormity of the 2004 Indian Ocean

Cheesy skit: A Mirror, at the Almeida Theatre, reviewed

The playwright Sam Holcroft likes to toy with dramatic conventions and to tease her audiences by withholding key information about the characters. This tinkering seems to scare the critics into praising her scripts even though they feel like clumsily written thrillers or botched sci-fi yarns where the rules keep changing. Her technique appeals to high-minded theatres such as the Almeida because it enables A-level drama students to fill their notebooks with impenetrable guff about ‘metatextuality’ and ‘poly-ironic approaches to narrative’. It could be Noises Off by an author who wants to be Brecht or Pirandello Holcroft’s new satire, A Mirror, opens with a bogus wedding that gets disrupted when a

Watch three irascible women screaming at each other: Anthropology, at Hampstead Theatre, reviewed

Anthropology is a drama about artificial intelligence that starts as an ultra-gloomy soap opera. A suicidal lesbian, Merril, speaks on the phone to her kid sister, Angie, and they discuss Merril’s beautiful ex-girlfriend. After ten minutes, we learn that Angie’s voice belongs to a robot, Digital Angie, created by Merril to replicate the real Angie who vanished a year earlier in unexplained circumstances. Then another surprise. Digital Angie becomes self-aware and turns into a detective who offers to help Merril investigate Angie’s disappearance and to find out if she’s still alive. Angie then turns into a third character who tries to interfere with Merril’s social life. This digital bully sends

Lacks any air of mystery, foreboding or darkness: Macbeth, at the Globe, reviewed

Macbeth at the Globe wants to put us at our ease and make us feel comfortable with the play’s arcane world of ghouls, hallucinations and murderous prophecies. Abigail Graham’s up-to-the-minute production offers a few nods to history, like the eagle masks worn by the three witches, but for some reason they speak in dense cockney accents and wear biohazard suits. And they’re all men. The Scottish soldiery favour black body armour like SAS recruits or Metropolitan Police officers. And King Duncan, benefitting from equality legislation, has been transformed into an alpha female: ‘Queen Duncan’, as everyone calls her. She strides on to the battlefield in the opening scene sporting a

Like an episode of Play School: Dr Semmelweis, at the Harold Pinter Theatre, reviewed

Bleach and germs are the central themes of Dr Semmelweis, written by Mark Rylance and Stephen Brown. The opening scene, set in the 1860s, presents the harmless old doctor as a charming oddball who adores playing chess with his happy, clever wife. This is code: Semmelweis is an intellectual and a feminist whom it’s safe to like. We flip back to 1837 and meet Semmelweis as a student at a Viennese maternity hospital where the male doctors kill three times as many patients as the female nurses. How come? Well, the males sport filthy aprons spattered with their victims’ blood while the nurses wear freshly laundered habits. So the high

Two very long hours: The Effect, at the Lyttelton Theatre, reviewed

Lucy Prebble belongs to the posse of scribblers responsible for the HBO hit, Succession. Perhaps in honour of this distinction, her 2012 play, The Effect, has been revived at the National by master-director Jamie Lloyd. The show is a sitcom set in Britain’s most dysfunctional drug-testing facility where two sexy young volunteers, Tristan and Connie, are fed an experimental love potion that may help medics to find a cure for narcissists suffering from depression. Running the experiment are two weird boffins, Professor Brainstorm and Nurse Snooty, who once enjoyed a fling at a conference and whose lust is not entirely extinct. But Nurse Snooty is playing hard to get. ‘Sometimes,’

London theatre needs Kevin Spacey

Lee Anderson, deputy chairman of the Conservative party, popped a few monocles by saying asylum seekers reluctant to stay on a Home Office barge could ‘fuck off back to France’. Wash your very mouth out! Where did Anderson think he was performing? At the Royal Court theatre? The Guardian, which long teased Mary Whitehouse for being a prude, clutched its pearls at the ‘nasty’ remark. Westminster journalists, few of whom can complete a sentence without an F-word, wrote about Anderson’s ‘shock’ remark. Radio 4’s Nick Robinson (so one gathers, not having been a Radio 4 listener for seven years) was so aghast that he had to be given camomile tea and

Rizal Van Geyzel races through his 60-minute set peppering the material with snatches of Chinese, Tamil and Malay
Lloyd Evans

Trump, Diogenes, the Mitfords and Malaysian comedy: Edinburgh Fringe round-up

The Mitfords is a superb one-woman show by Emma Wilkinson Wright who focuses her attention on Unity, Diana and Jessica. In the early 1930s, Unity became Hitler’s lover and she lived in a luxurious Munich apartment confiscated from a wealthy Jewish family. The Führer, whom she nicknamed ‘Wolfie’, gave her the pearl-handled revolver with which she shot herself in the head shortly after Britain’s declaration of war. To carry out this bizarre act of self-sacrifice she chose a favourite spot in Munich’s English Garden where she used to sunbathe naked. In wartime Britain, Diana was held in Holloway prison and she complained bitterly about being separated from her baby boy,

A tragicomic lecture about Gold at Edinburgh Festival

A chilly August in Edinburgh. Colder than it’s been for 20 years and the city looks scruffier than ever. Locked Portakabins squat in elegant stone courtyards. Unused site machinery lies abandoned outside neoclassical museums. Pavements and bridges are scarred by ugly steel roadblocks, and lurid street signs mar the visual harmony of virtually every thoroughfare. The place seems to be governed by a crew of philistine control freaks whose bossy urges affect the festival staff. You can’t move anywhere without a lecture. ‘Go this way, not that way, mind your head, ascend the steps on the left to avoid those coming down on the right, and take off your jacket