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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Waking up from the American dream
SIMON PARSONS admires an ambitious adaptation of a novel that plots the path from role-play to reality
ROLEPLAY: (L-R) Lukwesa Mwamba and Kalungi Ssebandeke in We Need New Names
[Robert Day Photography]
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
We Need New Names
The North Wall Arts Centre
STAGE adaptations of successful novels face both pros and cons.
They automatically ensure a conversant and expectant audience but then carry the burden of living-up to those expectations.
Shortlisted for the 2013 Man Booker prize, this spirited, rites-of-passage story by black Zimbabwean, NoViolet Bulawayo is no exception.
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GEORGE FOGARTY is dazzled by a breathtakingly skillful puppet version of Shakespeare’s greatest love poem
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
PETER MASON applauds a stage version of Le Carre’s novel that questions what ordinary people have to gain from high-level governmental spying
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship