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 theatrical window into an unheard part of Britain
JOE GILL recommends an innovative in-your-face play that deals with issues of racism, xenophobia and Islamophobia
To be a Muslim man in Bradford is to be “'nvisible and hyper visible all at the same time'
[Ian Hodgson]
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
Peaceophobia
Common Wealth Theatre / Speakers’ Corner
Brighton Festival
IN A corner of a multilevel car park three young men from Bradford slowly drive their souped-up motors into a lit space for a unique theatrical experience.
This is Peaceophobia, a revelatory show created by Common Wealth theatre, Bradford women’s social space Speakers’ Corner and Bradford Modified Club that has been touring Britain.
It is performed by three non-actors who bring their own life experience to devised performance.
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