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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A Dickensian romp
DAVID NICHOLSON, eight-year-old BEHATI and nine-year-old SKYLAR applaud a hilarious production that doesn’t ignore the social message
VICTORIAN MORALITY FOR KIDS: A Christmas Carol at Sherman Theatre, Cardiff
[Mark Douet]
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
A Christmas Carol
Sherman Theatre, Cardiff
HATS off to the Sherman Theatre for a hilarious and scary production of Charles Dicken’s A Christmas Carol.
This was not your usual dramatic take on the ghostly seasonal favourite, but an imaginative and musical version of the classic by writer Gary Owen and director Joe Murphy.
The well-trodden tale of the redemption of a penny-pinching money-lender has been given a seasonal boost by setting it in Cardiff and including comedy, puppets, singing and dancing as well as casting Scrooge as a woman. But the core of the story about Victorian attitudes towards the poor and the state’s violence to those falling on hard times remains. As Skylar noted: “People were cruel to poor people because they had no money.”
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