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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Rambert’s triple-decker fails to satisfy
Susan Darlington reviews the Rambert Dance Company at the Alhambra Theatre, Bradford/Touring
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
3/5
RAMBERT are one of the country’s leading contemporary dance companies but this mixed programme does little to uphold its reputation.
The bill opens promisingly with Dark Arteries, a piece inspired by a Mervyn Peake poem about coalmining and which features a live brass band. Yet if this suggests the grinding physicality of heavy industry, then Mark Baldwin’s choreography is fractured and confusing.
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GEOFF BOTTOMS recommends an inspiring, political and bittersweet account of the munitions factory workers who are the fore-runners of the modern women’s game
SIMON PARSONS applauds an artist who rescues and rehumanises stories of women, the victims of violence, from a feminist perspective
MATTHEW HAWKINS recommends three memorable performances from Scottish dance artists Barrowland Ballet, In the Fields Project, and Wendy Houston
MIKE QUILLE applauds an excellent example of cultural democracy: making artworks which are a relevant, integral part of working-class lives