Kenneth Tynan
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The author raids memoirs and letters but adds little of her own in this juicy group biography of writers’ marriages
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As Daniel Radcliffe appears in Rosencrantz and Guildenstern, Tom Stoppard remembers the dandy who wrote it 50 years ago, picks his favourite play – and reveals why he’s less interested in dazzling audiences than making them cry
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The Observer at 225‘Kenneth Tynan brilliantly achieved an intellectual slum-clearance of the stage’In a decade as the Observer’s theatre critic, Kenneth Tynan helped transform the ailing British theatre and reinvent the part of the reviewer, says Susannah Clapp
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Over the newspaper’s long life, the trust given to writers has ensured that every Sunday they produce not just stories, but Observer stories
• Click here for more on the Observer at 225
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London’s Roundhouse is celebrating its 50th anniversary. Revisit some of the theatre that was staged in its first wave of activity, from the late 1960s to the early 80sGallery
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The prestigious award will mark the centenary next year of the great literary maverick who wrote 400 pieces for the Observer
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Versatile actor who combined grace with gravity in her many roles over 65 years
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A look backFrom the Observer archive, 16 August 1970: nude revue show greeted with polite chucklingLondoners react to Kenneth Tynan's Broadway hit Oh! Calcutta! with respectful and uncritical amusement, writes Patrick O'Donovan
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German theatre director who staged notable productions of the plays of Bertolt Brecht
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Originally published in the Guardian on 28 July 1970: Philip Hope-Wallace casts a critical eye over Kenneth Tynan's full-frontal nude revue show at London's Roundhouse
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In this extract originally published on 8 May 1955, the stage version of Zola's Thérèse Raquin, directed by Sam Wanamaker, fails to arouse the Observer theatre critic's passion
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In this extract originally published in the Observer on 26 August 1956, Kenneth Tynan finds the first stage adaptation of Dylan Thomas's drama as gripping as it is uneventful
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In this review, originally published in the Observer on 24 March 1963, Kenneth Tynan finds the first world war musical to be a one-woman show
Leech or saviour? Edinburgh fringe show spotlights theatre’s vexed relationship with critics