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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Vivid exploration of a black woman’s experiences of race, isolation, love and loss
INDIE PURCELL recommends a more than promising debut play by Amanda Wilkin
Shedding a Skin: Amanda Wilkin as Myah
[Helen Murray]
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
Shedding a Skin
Soho Theatre, London
MYAH, Amanda Wilkin’s sole character in her funny, poignant, and profound debut play, knows what it’s like to feel discontented, empty even.
“I would rather be anywhere,” she declares in the opening scene of Shedding a Skin. “Anywhere else in the world. rather than here.”
Many will know the feeling of being stuck with a bad job, bad relationship and a bad bank balance.
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