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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An intentionally amateurish quality provides the winning charm
Stuffed with Xmas cracker style gags
[Mark Dawson Photography]
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
Treasure Island
Bristol Old Vic
LE NAVET BETE’S recycled pantomime of Robert Louis Stevenson’s classic pirate tale is a welcome addition to family entertainment at the start of the long summer holidays.
Stuffed with Xmas cracker-style gags, double entendre for adults, an ugly sister-style dame and pop culture references, this starts out as typical pantomime fare but transmutes into something more akin to the National Theatre of Brent’s comically irreverent productions.
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GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
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