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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Lynne Walsh's theatre of the year
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
AN EVENTFUL year, with murders, kidnapped children, suicidal depression, lost souls and found loves.
Conor McPherson’s Girl from the North Country won standing ovations at the Old Vic, with its magical use of Bob Dylan’s finest songs.
This took many, including critics, by sweet surprise. There are always cynics claiming McPherson’s work lacks teeth and the hopeless floundering of hapless drifters in the liminal space of a flophouse or bar may not be to everyone’s taste, but this carried an emotional charge reminiscent of a Steinbeck or Miller.
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ANGUS REID applauds the potential of an ambitious show about Gaza, and encourages it to keep its nerve
Sexual harassment on Britain’s railways is rising sharply, according to the British Transport Police, yet too many women still feel reporting is futile. LYNNE WALSH asks why the burden of safety all too often remains on women themselves
TONY BURKE revels in the publication of previously unreleased tracks by the great US folksinger