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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Bindlestiffs
SIMON PARSONS applauds an excellent production of Steinbeck’s Depression-era classic that sadly seems as relevant as ever
RESONANT: Simon Darwen as Slim and Tom McCall as George
[Mark Senior]
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
Of Mice And Men
Birmingham Rep
STEINBECK’S 1937 novella, set during the 1930s Great Depression, has been brought to life by Birmingham Rep. The central pivotal relationship between savvy George and his childlike companion Lennie is explored with passion and sensitivity, but they are not the only outsiders failed by the American Dream in this excellent production.
Tom McCall’s George is a shrewd, migrant labourer just managing to stay afloat by drifting from farm to farm with his trusting friend. The two partners are vital to each other’s hopes. His outbursts of anger at Lennie’s inability to avoid trouble and grasp the realities of their life are diffused by a mantra-like vision of their shared future and tender physical moments that placate his distressed companion.
William Young’s own complex learning issues inform much of his moving portrayal of Lennie. This is no sentimentalised characterisation but a warm, gentle giant whose strength and confusion leads to his downfall.
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PAUL FOLEY welcomes a dramatic account of the men and women involved in the pivotal moment of the 5th Pan African Congress
MARY CONWAY is blown away by a flawless production of Lynn Nottage’s exquisite tragedy