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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Kneehigh drum up troubling totalitarian metaphor
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
GIVEN the current political climate, it’s easy to empathise with Oskar. On his third birthday, he decides to stop growing in protest against the world.
But that antipathy for human greed and folly starts early. Even before his umbilical cord has been cut, the narrator of Gunter Grass’s The Tin Drum pleads to be returned to the amniotic sac after Alfred — one of two “presumptive fathers” — sketches out his future as a greengrocer.
Set against a turbulent period in Europe’s history, starting with the conception of his mother Agnes in 1899 and taking in the rise of nazism — here renamed unspecifically as the Order — and Kristallnacht.
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GEORGE FOGARTY is dazzled by a breathtakingly skillful puppet version of Shakespeare’s greatest love poem
SUSAN DARLINGTON swoons in the presence of a magnetic frontman
WILL STONE is frustrated by a performance that chooses to garble the lyrics and drown the songs in reverb
DAVID NICHOLSON recommends a dazzling production of Bernstein’s opera set in a world where chaos and violence are greeted by equanimity