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 panto let down by inconsistent writing and direction
[Tristram Kenton]
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
Aladdin
Lyric Hammersmith, London
LIKE the proverbial football match of two halves, this patchy panto takes on highly different aspects before and after the interval.
In the section up to the break there’s barely a memorable moment. The custard pie slapstick is limp, the music is uninspiring and the jokes are weak, with some strangely out of date “current affairs” cracks for the adults.
In general there’s little for young or old to get stuck into, especially as it takes far too long to reach the animating point where Aladdin finally goes into the cave to search for his magic lamp. Mulled wine at half-time was a blessed relief.
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