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
Latest editorial
‘Excruciatingly funny’
ANGUS REID recommends a show about a dysfunctional provincial theatre littered with infectious silliness
‘BITCHY CAST’: (L to R) Deirdre Davis, Meg Chaplin, Marc Small and Rachael McAllister
[Fraser Band]
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
Noises Off
Pitlochry Festival Theatre
THERE is an inexplicable plate of sardines in the centre of Michael Frayn’s farce, Noises Off.
No-one knows why they are there, or what they signify, and they keep getting forgotten, or dropped, or used as weapons as the show falls apart in the hands of a jaded provincial rep company.
There is also a telephone that comes apart from its handset like a cursed prop, a box of tax receipts and a blue BOAC travel bag. And a slippery contact lens. There are noisy stairs, ill-constructed doors and a group of sexual opportunists playing, well… a group of characters hoping to have it off in a tastelessly overblown country retreat.
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Strip cartoons used to be the bread and butter of newspapers and they have been around for centuries. MICHAL BONCZA asks our own Paul Tanner about which bees are in his bonnet
GORDON PARSONS is disappointed by an unsubtle production of this comedy of upper middle class infidelity