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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A Streetcar Named Desire, Young Vic/National Theatre at Home
Gillian Anderson is riveting as the damaged goods in a Tennessee Williams classic
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 A Streetcar Named Desire premiered in New York in 1947, it was hailed as a sensation. It went on to become a 20th-century tour de force and as director Benedict Andrews demonstrates in this Young Vic production, it is an abiding masterpiece.
TO DIE FOR: Gillian Anderson (centre) as Blanche DuBois [Photo Alastair Muir]
Its subtle updating is an astonishingly daring approach given writer Tennessee Williams’s precision in its original setting.
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SUE TURNER is fascinated by a book that researches who the largely immigrant workforce were that built the Empire State
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
Although this production was in rehearsal before the playwright’s death, it allows us to pay homage to his life, suggests MARY CONWAY
