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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Best of 2018: London Theatre
by PETER MASON
Spellbinding: Pinocchio at the National Theatre
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
STEVEN BERKOFF'S East is not easy to stage, but, in January, director Jessica Lazar and her cast of five made the absolute most of what they had to work with at the King's Head.
There were highly impressive performances by two actors fresh out of drama school from Boadicea Ricketts as the earthily confident young Sylv and Jack Condon as the bored, street-fighting shoe-shop assistant Les but the standout was 25-year-old James Craze as Mike, who coped with the physical and emotional gymnastics of his Jack the Lad part as if it had been written directly for him, rather than first performed almost two decades before his birth.
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GEORGE FOGARTY is dazzled by a breathtakingly skillful puppet version of Shakespeare’s greatest love poem
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
GORDON PARSONS is disappointed by an unsubtle production of this comedy of upper middle class infidelity