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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Thirteen Syrian women bring Euripides up to date with unforgettable personal testimonies
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Stephen Dillane, Gina McKee and Ron Cook excel in Lyndsey Turner’s tremendous revival of Brian Friel’s 1979 play
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Robert Lepage pulls no punches as he revisits the notorious marquis in the asylum
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This edgy tale of a Snowden-type whistleblower is over-reliant on its stagey finale
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A first-rate Joseph Fiennes saves the day in Terence Rattigan’s timid drama based on TE Lawrence
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Helen McCrory brings steel and gusto to the role of Terence Rattigan’s scorned 1950s lover
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Susannah Clapp writes: Richard Hollis mentions the powerful covers David King created for the London Review of Books in the 1980s
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A new translation fails to hit its satirical targets but still makes for a good musical
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Alexi Kaye Campbell’s heavy-handed political comment has little to say on present-day Greece
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The harrowing legacy of German chemist Fritz Haber as seen by his wife and granddaughter
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Joe Penhall’s dissection of racism and mental health in modern Britain is still compelling
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Lily James and Richard Madden certainly look the part, but are doomed by their diction
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Hattie Naylor’s beautifully deft adaptation springs Sarah Waters’s bestseller on to the stage in a pitch-perfect production
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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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This adaptation of the novelist’s prescient 1909 short story is impressively nimble
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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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Fracked! review – Alistair Beaton’s nimble eco-comedy hits home, up to a point