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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Take your mum
The Cuban star Carlos Acosta uses his celebrity to showcase the choreography of others in an egalitarian spirit, judges MATTHEW HAWKINS
Carlos Acosta
[Nauris Buksevics]
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
REVEALINGLY, Carlos Acosta writes that On before is “one of the most important shows” he has created and danced.
Explicitly in this case, Carlos Acosta has used this revived version of On Before (premiered last week at Edinburgh’s Festival Theatre, prior to UK touring) to present some new-generation performers and choreographers from his Havana-based troupe Acosta Danza.
The exposure is especially viable given Acosta’s physical manifestation, and the inclusion of choreographic works by established makers and a well-planned tour of large proscenium theatres, backed by the producing forces of Norwich Theatre. It is a vital feat to be able to offer opportunities amid such established renown. The live artwork gets to assume a powerful frame.
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