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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A curious case of the stage and sound designs outperforming the actors
MISDIRECTED: (L to R) Safiyya Ingar and Debbie Chazen
[Nobby Clark]
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 Child in the Snow
Wilton’s Music Hall, London
THERE are some unquestionably chilly moments in this Piers Torday adaptation of The Old Nurse’s Story, a ghostly Christmas tale that relates the spooky experiences of a 12-year-old orphan, Hester, who is sent to live with an ancient aunt in a creaky old house on a lonely moorland estate.
Yet the telling of the story’s rather complicated plot is so cumbersome that it fails to make a successful transition to the stage.
With much of the dialogue taking the form of explanatory notes, it often feels as if we’re being told what’s happening rather than seeing it unfold in front of our eyes.
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