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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Albion, Almeida Theatre London
State of the nation takes root in an English country garden
EXCELLENT: Victoria Hamilton as Audrey in Albion
[Marc Brenner]
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
THIS fine play from Mike Bartlett is wonderful theatre.
As the audience settles around the protruding set of a country garden, a first world war soldier wanders around the lawn and, picking up the soil of his country, inhales it like dope — a metaphor for what’s to come.
Enter 21st-century Audrey (Victoria Hamilton) who has left her business life in London to return and live in the place which has nostalgic connections with her childhood — its seductive comforts and reluctance for change — despite her constantly professing its importance.
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