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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The Hunt, Almeida Theatre, London
Thomas Vinterberg’s film about a teacher wrongly accused of child abuse gets a powerful stage adaptation
Claustrophobic: The Hunt
[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
WHEN the caring Lucas, the sole kindergarten teacher in a small rural Danish town, gently reproves the innocent advances of the loveless five-year-old Klara, her hurt feelings unintentionally lead her to accuse him of having indecently exposed himself.
The stiflingly repressed locals readily accept her version of events and they proceed to hound the innocent Lucas (Tobias Menzies). Emotionally inhibited and with his marriage on the rocks, he can only silently communicate his affection for his infant charges, his son and his estranged friends.
He becomes the ready prey of his erstwhile companions, with his bottled-up courage only enraging them further.
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