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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Sympathy for the devils
‘There's outrage aplenty in this production but we never quite get to the dark night of the soul,’ writes WILL STONE
HOMOSEXUAL REPRESSION: Kingsley Ben-Adir as Brick and Seb Carrington as Skipper
[Marc Brenner]
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
Cat On A Hot Tin Roof
Almeida Theatre
TENNESSEE Williams’s favourite play is a masterpiece of richly drawn characters, open to seemingly endless interpretation.
Set on a cotton plantation in the Deep South, the original 1955 production had a white cast performing as the family of wealthy landowners with black actors playing servants.
Since then productions have featured an all-black cast and those set in the modern era complete with mobile phones and iPads.
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