To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
Latest editorial
An American dream of balletic brilliance
[Laurent Liotardo]
If you can see past the relentless commodification you will be rewarded by enormously powerful work, suggests JENNY MITCHELL
CHRIS SEARLE revels in the one-off collaboration between an American polymath and a British Muslim, and detects the presence of their revolutionary forebear
GORDON PARSONS revels in an ebullient production of Shakespeare’s magical comedy
BRENT CUTLER welcomes a thoughtful analysis of the Erdogan regime, viewed through the evolving history of a neighbourhood in Istanbul
GORDON PARSONS regrets the price, but is dazzled by an outstandingly ambitious study of the way art restoration in particular, and culture in general was weaponised by the Nazis
Voices of America
Sadler's Wells, London
ENGLISH National Ballet's Voices of America showcases some of the most exciting past and present work in neoclassical ballet from across the Atlantic by three outstanding choreographers.
Fantastic Beings by Canadian-born Aszure Barton is an imaginative, funny and sumptuous refection on the boundary between the animal and the human, while Approximate Sonata 2016 by that titan of neoclassical ballet William Forsythe breaks down ballet vocabulary in a piece that exemplifies his unique style.
A deconstruction of the pas de deux between a man and a woman — a central pillar of all ballet works — it has Alina Cojocaru shining brightly in a work full of wit, elegance and an underbeat that makes the heart race apace.
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