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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Paul Foley's theatre of the year
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
IT'S been another tough year for the north west but, throughout these turbulent times, the cultural life of the region has shone through the gloom.
Against the odds in 2017 our great theatres have continued to make audiences laugh, cry and become angry as well as determined to fight for a better world.
While most have tightened their belts, the Liverpool Everyman took the bold step of creating its own rep company that debuted with a smashing Fiddler on the Roof, a musical portrait of peasant life in tsarist Russia.
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MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
GEORGE FOGARTY is captivated by a brilliant one-man show depicting life in HMP Strangeways
The summer saw the co-founders of modern communism travelling from Ramsgate to Neuenahr to Scotland in search of good weather, good health and good newspapers in the reading rooms, writes KEITH FLETT
PAUL FOLEY welcomes a dramatic account of the men and women involved in the pivotal moment of the 5th Pan African Congress