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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Hansard, National Theatre, London
Marital skirmishes point up personal and political schisms of the Thatcher era
Dysfunctional duo: Robin Hesketh (Alex Jennings) and Diana (Lindsay Duncan)
[Catherine Ashmore]
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
WHEN junior Tory minister Robin Hesketh (Alex Jennings) returns to his idyllic Cotswolds home after a busy summer week in Parliament, he finds foxes making a mess of his garden and his unhappy, drink-sodden wife Diana (Lindsay Duncan), ready to do some destructive emotional digging of her own.
Over the course of an hour-and-a-half without interval, the two sixty-somethings pick, poke and provoke as they range over familiar argumentative territory maritally.
Yet gradually, and at Diana’s insistence, the old, well-rehearsed topics give way to new ones that have lain unconsidered for many years, leading to a dramatic and heartbreaking revelation about a painful incident from the past.
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