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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Dark ride on this Carousel
WILL STONE sees a curiously downbeat production of a Broadway musical classic
LIGHT RELIEF: John Pfumojena and Christina Modestou as Enoch Snow and Carrie Pipperidge
[Johan Persson]
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
Carousel
Regent’s Park Open Air Theatre, London
TO MAKE it resonate with a modern audience, a revival of Rodgers and Hammerstein’s 1945 musical was always going to be a tall order. So it proves with this production.
Based on the 1909 play Liliom, many people simply don’t care about the explorations of marriage, women having lots of children and masculine pride in Ferenc Molnar’s work anymore.
So when meek and mild millworker Julie Jordan (Carly Bawden) falls for brutish carousel barker Billy Bigelow (Declan Bennett) and their love for each other causes them both to lose their jobs, we’re looking through what seems the lens of ancient history.
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