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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Anti-fascist musical?
JAN WOOLF doubts that soft-core musical is the best way to transmit an important story of heroism and resistance
HEART-WRENCHING: the cast of White Rose
[Marc Brenner]
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
White Rose – the Musical
Marylebone Theatre
THE German word flugblutter translates as “a flying piece of paper.” The subversive leaflets of the White Rose took flight when brother and sister, Hans and Sophie Scholl, flung them from the balcony onto their fellow students at the University of Munich on February 18 1943. This is an excerpt:
“The day of reckoning has come. The reckoning of German youth with the most abominable tyrant our people have ever been forced to endure. We grew up in a state where all free expression of opinion has been suppressed.”
Leaflets were distributed throughout Germany as the White Rose resistance movement spread.
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