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
Churchill at her radical and compassionate best
An almost out-of-the-body experience where all that is possible, or desired, floats into vision then dwindles, writes MARY CONWAY
DAZZLING: John Heffernan and Linda Bassett
[Johan Persson]
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
What If If Only
Royal Court Jerwood Theatre Downstairs
THERE are four compelling reasons to see What If If Only at the Royal Court: first, it’s by the incomparable Caryl Churchill; second, it stars the unmatchable Linda Bassett; third, it explores the extreme profundity of human experience; lastly, it is, in itself, a thing of beauty.
Oh, and it is only 20 minutes long.
Churchill holds a place like no other playwright in our times. Brilliant, uncompromising, cliche-smashing, wry and humorous, she forces us to view the limited perceptions of our lives from ever new and insightful perspectives.
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