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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MAYER WAKEFIELD draws attention to the plight of small theatres and their role in nurturing new talent
Ruby Campbell as Kelly and Amy Molloy as Gill
[Pic: Tristram Kenton]
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
Akedah
by Michael John O’Neill
Hampstead Downstairs, London NW3
AT THE end of last year, the Hampstead Theatre had 100 per cent of its Arts Council funding withdrawn in a move that threatens its very existence, and particularly its new writing programme.
Without a U-turn, plays such as Michael John O’Neill’s 2019 Bruntwood Prize-winning Akedah, are unlikely to find a stage.
That would be a travesty because O’Neill is clearly a voice worth listening out for, as well as being a writer who will benefit from seeing his work performed in a full-scale production.
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MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
PETER MASON applauds a stage version of Le Carre’s novel that questions what ordinary people have to gain from high-level governmental spying
Although this production was in rehearsal before the playwright’s death, it allows us to pay homage to his life, suggests MARY CONWAY