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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Rambert Triple Bill, Alhambra Theatre Bradford
Varied dance menu with agreeable aftertaste
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
“It has to be eclectic,” writes Rambert’s artistic director Benoit Swan Pouffer on the creation of this mixed programme.
“It has to feel like a buffet.” He’s achieved that objective with the company’s latest triple bill, which opens with Wayne McGregor’s PreSentient (2002).
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GEORGE FOGARTY is dazzled by a breathtakingly skillful puppet version of Shakespeare’s greatest love poem
ANGUS REID applauds the potential of an ambitious show about Gaza, and encourages it to keep its nerve
KEN COCKBURN relishes the memoir of a translator, but wonders whether the autobiography underlying the impulse would make a better book
MIKE COWLEY welcomes half a century of remarkable work, that begins before the Greens and invites a connection to — and not a division from — nature