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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Anniversary dance amazes
Peter Lindley reviews the Richard Alston Dance Company at Sadler’s Wells Theatre, London EC1/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
5/5
Richard Alston’s company marks it 20th anniversary with this production of four richly diverse works, choreographed by Alston and Martin Lawrence, who some regard as his natural successor.
The latter is responsible for Burning, inspired by the music and febrile love life of composer Franz Liszt, in which Liam Riddick and Nancy Nerantzi’s duet to the Dante Sonata thrillingly captures the thrust and thunder of all-consuming passion.
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DAVID NICHOLSON recommends a dazzling production of Bernstein’s opera set in a world where chaos and violence are greeted by equanimity
JONATHAN TAYLOR appreciates how, for a black British musician, to walk onstage can be a rebellious act
MATTHEW HAWKINS recommends three memorable performances from Scottish dance artists Barrowland Ballet, In the Fields Project, and Wendy Houston
This is a concert of ambition and courage by organist and improviser Wayne Marshall, says SIMON DUFF