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
Latest editorial
The case for sparing the rod
The Cane persuasively reflects on the malignant consequences of corporal punishment, says MARY CONWAY
Spectacular: Alun Armstrong and Maggie Steed
[Johan Persson]
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
The Cane
Royal Court Theatre, London
INSPIRED in its subject matter and its stylised symbolism, Mark Ravenhill’s new play is clever and insightful, exhibiting a highly refreshing artistic freedom in a world dominated by the cliches of mainstream media.
Similar stories
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
JAN WOOLF is beguiled by the tempting notion that Freud psychoanalysed Hitler in a comedy that explores the vulnerability of a damaged individual
MARY CONWAY is blown away by a flawless production of Lynn Nottage’s exquisite tragedy