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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Mixed-bill marker for Richard Alston
Quick shifts: Cut and Run
[Chris Nash]
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
Mid-century Modern
Place Theatre, London/Touring
MARKING 50 years of Richard Alston’s choreography, this trio of works is a reflection on modernism and its place in 21st century dance.
Showcasing some of Richard Alston Dance Company's existing repertoire as well as newly commissioned work, the programme begins with Martin Lawrence’s Cut and Run.
An experiment in light and quick shifts of movement, danced to a score by composers Damian LeGassick and Michael Gordon, there is very little breathing space for dancers and audience in a piece where lighting plays a significant role.
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