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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Light Falls, Royal Exchange Theatre Manchester
Missed opportunity to shed light on complex northern realities
In meltdown: David Moorst as Steven in Light Falls
[Manuel Harlan]
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
SIMON STEPHENS’S new play marks the last production from the Royal Exchange’s artistic director Sarah Frankcom before she takes over the reins at LAMDA drama school.
One of the country’s finest directors, she has reshaped the Exchange into a theatre with international renown and over the past decade her innovative work, especially wonderful collaborations with Maxine Peake, have thrilled audiences.
That’s not necessarily the case with Light Falls, inspired by a road trip she took in 2016 with Stephens across the north of England, visiting Warrington, Blackpool, Ulverston, Doncaster and Durham.
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