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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Alvin Ailey Dance Theatre, Sadler's Wells London
Dance at its most dynamic from the great black company
Rising to the occasion: Jacqueline Green in Lazarus
[Paul Kolnik]
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
THE late African-American dancer, choreographer and activist Alvin Ailey has left a great legacy — the Alvin Ailey American Dance Theater (AAADT).
It has been honouring black culture through dance since he founded the company in 1958, a time when racism was rife and many black dancers were denied opportunities to perform.
The company returns to Sadler’s Wells with new works split into three distinct programmes on different nights.
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