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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This Salome is a really rocky horror show
Stroll on: Allison Cook as Salome
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
Salome
London Coliseum
AT ITS best, the combination of plot, music, acting and direction in opera can provide a pinnacle of dramatic and theatrical achievement. Any failure of even one of these elements may result in the kind of production that turns off many theatre-goers.
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GORDON PARSONS salutes the apt return of Brecht’s vaudevillian cartoon drama that retains the vitality of the boxing or the circus ring
DAVID NICHOLSON recommends the staging of this Wagnerian classic minus one or two insignificant quibbles
DAVID NICHOLSON recommends a dazzling production of Bernstein’s opera set in a world where chaos and violence are greeted by equanimity
