Susannah Clapp's profile photo

Susannah Clapp

England

Theater Critic at The Observer

Theatre Critic of the Observer. Author of 'A Card from Angela Carter' and 'With Chatwin'.

Articles

  • 1 week ago | msn.com | Susannah Clapp

    Microsoft Cares About Your PrivacyMicrosoft and our third-party vendors use cookies to store and access information such as unique IDs to deliver, maintain and improve our services and ads. If you agree, MSN and Microsoft Bing will personalise the content and ads that you see. You can select ‘I Accept’ to consent to these uses or click on ‘Manage preferences’ to review your options and exercise your right to object to Legitimate Interest where used.

  • 1 week ago | theguardian.com | Susannah Clapp

    Robert Icke goes on disrupting, reinventing what we see on stage. His new production, Manhunt, does not have the sleek incisiveness of the superb Oedipuswith which he lit up the theatre last year: it sprawls, tries to lasso too much, is sometimes overexpository. Yet it is coruscating. It transmits indelible images. Not moving but transfixing. Manhunt is a departure for Icke: a modern, real-life story that he has written as well as directed.

  • 2 weeks ago | msn.com | Susannah Clapp

    Microsoft Cares About Your PrivacyMicrosoft and our third-party vendors use cookies to store and access information such as unique IDs to deliver, maintain and improve our services and ads. If you agree, MSN and Microsoft Bing will personalise the content and ads that you see. You can select ‘I Accept’ to consent to these uses or click on ‘Manage preferences’ to review your options and exercise your right to object to Legitimate Interest where used.

  • 2 weeks ago | theguardian.com | Susannah Clapp

    Who would have thought that Rhinoceros, written in the 1950s, would prove to be a stage-shaker today? Sometimes taken as a satire on the rise of the Nazis or the lack of resistance to East European authoritarianism, but surely more accurately described as a general attack on unreflecting conformism, Eugène Ionesco’s play is a hard thing to pull off. At least in Britain, where the expectation of naturalism runs deep.

  • 1 month ago | theguardian.com | Susannah Clapp

    Fresh from the seaside, I went in warily to Thomas Ostermeier’s production of The Seagull. How could that bird be an image of vulnerability, when on today’s beaches gulls are predators, strutting like bankers, swooping on passersby? What’s more, it is so hard to pull off the crucial scene in which Nina – betrayed by her lover, her ambitions in ruins – flaps desolately around calling herself a seagull. Tragedy often looks like histrionics.

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Susannah Clapp
Susannah Clapp @susannahclapp
7 Apr 25

RT @DalrympleWill: If only more people had tbe guts of this incredible woman

Susannah Clapp
Susannah Clapp @susannahclapp
7 Apr 25

RT @RhonddaBryant: I think it’s more shocking that a putative leader of our country should choose to applaud another country detaining and…

Susannah Clapp
Susannah Clapp @susannahclapp
7 Apr 25

RT @EmilyThornberry: https://t.co/6je6EukQn7