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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Room for development
MARY CONWAY sees a play on a young girl abandoned by her mother that could do with some dramatic depth
Animated: Patsy Ferran
[Helen Murray]
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
My Mum’s a Twat
Royal Court Theatre, London
AT EIGHTY minutes, My Mum’s a Twat is overlong, but not because time spent in the company of that winning and animated actor Patsy Ferran isn’t a delight.
The problem is that its one main thought, "My mum’s a twat for joining a daft, highly controlling spiritual cult and abandoning me," is easily demonstrated in the first few minutes and doesn’t develop.
As a monologue it feels more suited to a brief stand-up comedy routine than to a drama.
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