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 tears of a clone
SIMON PARSONS applauds a moving version of Ishiguro’s vision of a world in which science and ethics have diverged
PINKIE PROMISE: Nell Barlow and Amelie Abbott in Never Let Me Go
[Hugo Glendinning]
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
Never Let Me Go
Bristol Old Vic
SUZANNE HEATHCOTE’S stage adaptation of Kazuo Ishiguro’s highly acclaimed 2005 novel is an assured and theatrically satisfying production.
The dystopian elements of an alternative England that has embraced human cloning are merely the framework on which to hang an elegiac story of friendship and innocent childhood memories recalled from the perspective of an adult world of sacrifice.
Nell Barlow’s effectively restrained and intelligent performance as the narrator Kathy provides a poignant yet non-judgmental commentary on her seemingly idyllic, rural boarding school days as she tries to come to terms with the fate destined for her and her classmates who were once made to feel so special.
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GEORGE FOGARTY is dazzled by a breathtakingly skillful puppet version of Shakespeare’s greatest love poem
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
SIMON PARSONS is beguiled by a dream-like exploration of the memories of a childhood in Hong Kong