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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Controversial 1891 play in striking new production
A glorious, collaborative piece that must be the standout new show in London at the moment, writes SIMON PARSONS
MEMORABLE: Catherine Cusack (Adult Women), Amara Okereke (Wendla), Laurie Kynaston (Melchior)
[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
Spring Awakening
Almeida Theatre
SATER and Sheik’s multi-award winning musical version of Wedekind’s controversial 1891 play dealing with pubescent sexuality and angst in an uncompromising and authoritarian adult world is revived on stage in this striking new production.
Set around two single sex schools and 13 students, Wedekind’s tragic original script is stripped down and updated with 20 memorable songs but still clearly evident.
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GORDON PARSONS is disappointed by an unsubtle production of this comedy of upper middle class infidelity
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