![](http://web.archive.org./web/20160602104223im_/https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/contributor/2014/5/28/1401285727624/Susannah-Clapp.jpg?w=140&h=140&q=55&auto=format&usm=12&fit=max&s=36926da6642d23ccca4f2564fb7b7e3e)
Susannah Clapp
Susannah Clapp is the theatre critic of the Observer. She is the author of With Chatwin and A Card from Angela Carter and a regular broadcaster. Follow her on Twitter:
@susannahclapp/
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This adaptation of the novelist’s prescient 1909 short story is impressively nimble
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George Bernard Shaw’s satirical attack on the divorce laws (and the medical profession) rather outstays its welcome
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Emma Rice’s first production as artistic director at the Globe is a glittering, unnerving comic triumph
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Hugh Bonneville as a whistleblower shows how Ibsen’s play switches emphasis with every staging
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Kit Harington gets his kit off and Jenna Russell sings Bat out of Hell… but no one profits from this deal with the devil
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National Theatre roundup: romantic flutterings in a cinema ignite Annie Baker’s brilliant The Flick; and why do children join Isis?
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Stephen Rea is superb as an Ulster loyalist suspicious of his ‘Fenian’ baby granddaughter
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Leo Butler’s new play brings the capital in 2016 indoors and on to the stage, with help from a set design that’s practically installation art
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A glittering Glenn Close is ready once again for her close-up as Norma Desmond
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Eugene O’Neill’s partly autobiographical play of family dysfunction careers towards its tragic outcome with terrific energy
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Kenneth Branagh and Rob Brydon labour for laughs as hotel guests thrown together by circumstance
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Paapa Essiedu paints a young and striking Hamlet, torn by indecision in an African military state, in Simon Godwin’s stirring interpretation
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Uzo Aduba, Zawe Ashton and Laura Carmichael make a striking cast, but the declamatory dialogue is heavy-handed
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It may be too gruesome much for some, but Sarah Kane’s 1998 horror show feels depleted in Katie Mitchell’s revival
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Uncle Vanya is snapped into focus in a fine-tuned new version by Robert Icke
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Sharon D Clarke as the ‘mother of the blues’ leads a superb cast in Dominic Cooke’s knockout production
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Caryl Churchill’s magnificent new play unleashes an acutely female view of the apocalypse
Romeo and Juliet review – Branagh’s star-crossed lovers fail to soar