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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Fangs for a full-blooded gothic dance of death
Susan Darlington reviews Dracula at the West Yorkshire Playhouse, Leeds
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
4/5
If you think you’ve had a tough day at the office, spare a thought for Jonathan Harker.
The lawyer is first locked in a room in Count Dracula’s castle. He then spots the count scaling head first down the side of the Tim Burton-inspired building and then, to cap it all, he’s seduced by three brides who could have stepped straight out of a Sisters of Mercy video.
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ALAN MORRISON recommends a consummate, heart-warming collection about a working-class upbringing in the industrial north-east
MATTHEW HAWKINS recommends three memorable performances from Scottish dance artists Barrowland Ballet, In the Fields Project, and Wendy Houston
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today
MARY CONWAY applauds the success of Beth Steel’s bitter-sweet state-of-the-nation play