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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The Canadian Inuit plight is given a stage with a powerful advocacy
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
Kiinalik: These Sharp Tools
The Studio, Edinburgh
★★★★
BUDDIES in Bad Times Theatre Company claims to be Toronto’s leading destination for artistic and alternative theatre and a world leader in developing queer voices. Certainly singer-songwriter Evalyn Parry, and Inuit artist and performer Laakkuluk Williamson Bathory, bring something different to the Edinburgh Festival.
Their show rather than drama — although it is quite dramatic enough — is a mixture of convivial but instructive conversation, story and songs relating to the lives of these two Canadians from separate worlds, and explosive anger directed at the audience designed to illustrate the strangling colonial oppression of Bathory’s Inuit people, especially their women
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GORDON PARSONS is disappointed by an unsubtle production of this comedy of upper middle class infidelity
This is a concert of ambition and courage by organist and improviser Wayne Marshall, says SIMON DUFF