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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Trivial pursuit
A play on the Litvinenko poisoning entertains but offers little fresh insight, says MARY CONWAY
Comic interlude: Tom Brooke, MyAnna Buring and Amanda Hadingue in A Very Expensive Poison
[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
A Very Expensive Poison
Old Vic, London
AS DRAMA, the poisoning of Russian dissident Alexander Litvinenko by the radioactive substance polonium-210 in 2006 is bound to draw the crowds.
The case was disturbing, not just because of the pain and terror for the individual but because it exposed a destabilising brand of international politics that impacts on all.
Writer Lucy Prebble, as in her earlier play Enron, again tackles a theme of huge public fascination and enormous complexity and the clarity of the story owes much of its detail to Luke Harding who wrote a book on the affair.
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