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
Lord of the Flies
Leeds Playhouse
LORD of the Flies remains a staple text in schools, with its themes of human nature and group mentality remaining ever relevant. In adapting William Golding’s novel, it’s therefore only necessary for director Amy Leach to make minor updates to this co-production between Leeds Playhouse and Belgrade Theatre Coventry.
Where the original features a group of public schoolboy castaways, here there’s a diversity of young actors. This makes characters more relatable to a modern audience, but it also reflects current political faultlines. Choirboy prefect Jack (Patrick Dineen) tries to use his privilege to exert control over the group, his disdain for the now female Ralph (Sade Malone) bristling with chauvinism and class arrogance.
Environmental catastrophe and nuclear fears are also reflected, with the children wondering if they could be the only people left alive when they crash land. Their tropical paradise is cloaked in the concerns they carry from home, having been evacuated from an unspecified warzone. It’s an underlying fear that’s captured in Max Johns’ monochrome set, with its black palm trees jutting out of white rock.
GEORGE FOGARTY is dazzled by a breathtakingly skillful puppet version of Shakespeare’s greatest love poem
MAYER WAKEFIELD has reservations about a two-handed theatrical homage to jazz’s most mercurial musician
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


