Clare Brennan

Clare Brennan is a critic with The Guardian (UK). This account has been auto-generated, and does not indicate that this person is an active member of That said, if you "follow" this member, you will automatically be updated whenever s/he writes a new review.

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Reviews (5)
Amélie the Musical
The Guardian (UK)

The arrival of the kind-hearted and introverted Parisian on the UK stage is a magical and emotional triumph of adaptation. Full Review

The Guardian (UK)

for a previous production "While all this is indubitably rollicking good fun, I missed Verne’s sly, ironic sideswipes at stock market and empire (comments on colonialism given to Mrs Aouda came across as forced)...That aside, Theresa Heskins’s direction lacks nothing in verve and elan. James Atherton’s music is so much part of the action it is almost a character in itself, and the main roles are just as you could wish them." Full Review

The Guardian (UK)

for a previous production "How to remember? He tries an ancient method – the memory palace: think of a place you know well, assign to areas within it those things you want to recall. This subtly develops into an exploration of what makes a life worthwhile, a society worth living in...Lepage dazzlingly creates shifting perspectives to conjure his unique private-public memoryscape...This unostentatious, meticulously crafted two-hour performance is touching, intimate, powerful." Full Review

Midtown E
The Guardian (UK)

for a previous production “An estranged couple’s struggle to come to terms with past trauma is hampered by a poor choice of set design...Diveney and Rattray are very able actors but, restricted to standing or moving around the circle...their characters come across as constructs...Information is too limited to allow the audience a view of what actually happened. The suspense...feels like a manipulative device; the production presents, without quite satisfactorily dramatising, disturbing polarities in our society.” Full Review

The Guardian (UK)

for a previous production "McDonagh’s situations and characters are rooted in a reality made up of seemingly small, recurring specifics–brand names, soap-opera titles. In a production as stunningly performed as this, the clever patterning of these particularities allows the action to reach extremes of emotion, even horror, without losing an underpinning bassline beat of laughter....Garry Hynes’s direction is so fine it is invisible–as if nothing on the stage could have been other than it is." Full Review