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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Hellishly good
SIMON PARSONS sees a brilliant musical reworking of Greek myth at the National Theatre which chimes with the Trump era
Oratory of the oppressed: Hadestown
[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
Hadestown
National Theatre, London
TWELVE years in the shaping, Anais Mitchell’s musical, drawing on jazz, blues, soul and folk, proves remarkably prescient and her collaboration with director Rachel Chavkin has produced a stunning piece of theatre.
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SIMON PARSONS applauds an artist who rescues and rehumanises stories of women, the victims of violence, from a feminist perspective
STEVE JOHNSON relishes a celebration of the commonality of folk music and its links with the struggles of working people the world over
MAYER WAKEFIELD is gripped by a production dives rapidly from champagne-quaffing slick to fraying motormouth
