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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Powerful drama of 1930s Irish family at war in an East End threatened by fascism
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
Mosley Must Fall
The Lion and Unicorn, London
MARTIN McNAMARA’S Mosley Must Fall is a gem. Playing at the Lion and Unicorn in Kentish Town as part of the London Irish fringe festival Against the Odds, it takes us into the heart of an Irish family living in the East End in 1936.
Outside, Oswald Mosley is whipping up hatred against Jews and the family must decide which way to jump in what's a classic scenario — immigrants struggling to make their mark in a hostile and divided country.
While the play penetrates their sense of danger and desperation right from the off in what's a beautifully crafted piece, two angry young brothers Dessie and Jim articulate conflicting views, typifing the prevalent thinking of the time.
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