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
No Future
Complex streams of consciousness irk and illuminate
MINDBENDER: Adam Welsh
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
NO FUTURE is the brainchild of Adam Welsh, who produces and performs as himself in this livestreamed performance from Camden People’s Theatre in London.
The meaning of the work’s startlingly miserabilist title reveals itself only gradually as a brave journey into the mind of one man and, through him, into the workings of the human brain itself.
At one point TS Eliot is quoted: “Time past and time future … what might have been and what has been … point to one end, which is always present” and it’s a clue to the play’s meaning.
Similar stories
Although this production was in rehearsal before the playwright’s death, it allows us to pay homage to his life, suggests MARY CONWAY
The book feels like a writer working within his limits and not breaking any new ground, believes KEN COCKBURN
BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright
MARY CONWAY is blown away by a flawless production of Lynn Nottage’s exquisite tragedy