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
HEAVILY influenced by a summer Tennessee Williams spent in Tahiti in 1940, The Night of The Iguana is an odd mixture of elements.
It’s like a jigsaw puzzle whose striking individual pieces are all present but, assembled as a whole, fails to live up to expectations.
Rae Smith’s tropical set — a Mexican hotel that’s little more than a few corrugated shacks overlooking the sea adjoining an imposing rock face — is the faintly allegorical setting for a diverse group of people who, breaking or ending their journeys, deliberate on and remonstrate about their lives.
GORDON PARSONS is intrigued by a biography of the Marxist intellectual and author, made from the point of view of his son
ANDY CROFT welcomes the publication of an anthology of recent poems published by the Morning Star, and hopes it becomes an annual event
SIMON PARSONS is beguiled by a dream-like exploration of the memories of a childhood in Hong Kong
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today


