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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For The Sake Of Argument, Bridewell Theatre London
Flawed but worthy attempt to unpick arguments over Iraq war
GRIEVING: Paula Cassina in For the Sake of Argument
[Charles Flint]
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
IN FOR the Sake of Argument, members of a combative debating club held in a rundown pub lay into well-worn issues.
They do so merely for the sake of winning the argument and validating their own articulacy, and in charge is Eleanor (Ashleigh Cole), a fervent believer in rational disputation and an unflinching advocate for the 2003 invasion of Iraq.
Her writings persuaded a young man — an unlikely recruit — to sign up for the British army to overthrow Saddam Hussein and his tragic death in an IED blast leads his grieving mother to search out the woman whose words drove him to enlist.
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