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
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Best of 2018: London theatre
by MARY CONWAY
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
THE BRAINCHILD of Jamie Lloyd, the ongoing Pinter at the Pinter season at the Harold Pinter Theatre commemorates the playwright’s death 10 years ago with seven different compilations of his one-act plays and monologues. Packed with actors at the top of their game, it's a theatrefest to make the heart sing.
Uncomfortably true: A Very Very Very Dark Matter (Pic: Manuel Harlan)
Not only does it showcase Pinter’s range through comedy, anger and political satire to the poignantly personal, raw, violent and prescient, it is also a landmark in the history of theatre craft — a seismic shift from linear narrative to the kind of drama where the fragile construct of words often disguises real character complexity.
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