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
A masterclass in the futility of words
Once a Pulitzer-winner, this play now shows its age despite best efforts by excellent cast, writes MARY CONWAY
(L to R) Rebecca Night as Jessie Cates and Stockard Channing as Thelma Cates
[Marc Brenner]
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
’Night Mother
Hampstead Theatre
“I’M not very good company. Am I?”
So says Jessie at a fairly late stage in the two-hander that is ’Night Mother, currently showing at Hampstead Theatre.
And this is the difficulty with the play. Nearly 90 minutes spent with two people who converse aimlessly, duck what is important and destroy one another in the process is never a happy place to be. It would be worth the cost of a seat to avoid such encounters.
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MARY CONWAY applauds the timely revival of Miller’s study of people fatally deformed by the economics of survival
Although this production was in rehearsal before the playwright’s death, it allows us to pay homage to his life, suggests MARY CONWAY
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
SIMON PARSONS is beguiled by a dream-like exploration of the memories of a childhood in Hong Kong