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 great wine press of the wrath of God
PAUL DONOVAN admires a brave attempt to stage John Steinbeck’s epic tale of poverty-stricken 1930s America
COLLECTIVE BARGAINING: The cast of The Grapes of Wrath
[Richard Hubert Smith]
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
The Grapes of Wrath
National Theatre
IT is a very difficult task to adapt John Steinbeck’s brilliant 1939 book, the Grapes of Wrath, for the stage. It is a brave dramatic act to even try, let alone achieve.
This attempt at the National Theatre, using Frank Galati’s adaptation, makes a great effort, encapsulating many of the moods of desperation and defiance of adversity, but whether it totally gets there is open to question.
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MAYER WAKEFIELD is gripped by a production dives rapidly from champagne-quaffing slick to fraying motormouth