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
Latest editorial
Theatre review: Alys, Always, The Bridge Theatre London
Slick and stylish it may be but this version of a best-selling thriller has a moral vacuum at its core
Empty gesture: There’s a void at the heart of Alys, Always
[Helen Maybanks]
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
DIRECTOR Nicholas Hytner clearly knows his audience. And, at first glance, his choice of Alys, Always, adapted by Lucinda Coxon from Harriet Lane’s popular novel, seems set to please.
The story is simple. Frances, a busy but put-upon subeditor for Sunday newspaper The Questioner, is driving back to London one night after a miserably mundane Christmas with her miserably mundane parents, when she happens upon a car accident in a lonely country lane.
Similar stories
Although this production was in rehearsal before the playwright’s death, it allows us to pay homage to his life, suggests MARY CONWAY
STEPHEN ARNELL looks back to when protesters took to the streets in London demand to Irish liberty, fair pay and free speech — and wonders what’s changed in 138 years
MARY CONWAY applauds the success of Beth Steel’s bitter-sweet state-of-the-nation play