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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Dutchman, Tristan Bates Theatre London
Assault on racist attitudes in the US of the 1960s still packs a punch
Power play: Cheska Hill-Wood and James Barnes in Dutchman
[Diana Patient]
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
AS PART of Black History Month, Kaitlin Argeaux has resurrected Amiri Baraka’s 1964 political allegory Dutchman in the appropriately intimate confines of Tristan Bates Theatre.
Set in a New York subway car, the 50-minute play revolves around the encounter between an enigmatic white woman, the thirty-something Lula, and Clay, a smart-suited black man in his twenties.
The capricious Lula (Cheska Hill-Wood) is soon revealed as a metaphoric representation of privileged white America. Her switches between lubricious hedonism and bored disdain for her fellow passenger are a broad swing at racist attitudes from Baraka.
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