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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A tsunami of historical proportions
The Great Wave is an acute reflection of the fraught relations between Japan and North Korea, says SIMON PARSONS
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
The Great Wave
National Theatre, London
IN 1987, when a North Korean terrorist was captured after blowing up a South Korean airliner, the first real evidence came to light that numerous Japanese had been abducted by the North Koreans in order to train their agents to pass for Japanese.
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MAYER WAKEFIELD is gripped by a production dives rapidly from champagne-quaffing slick to fraying motormouth
STEPHEN ARNELL looks back to when protesters took to the streets in London demand to Irish liberty, fair pay and free speech — and wonders what’s changed in 138 years
SIMON PARSONS is beguiled by a dream-like exploration of the memories of a childhood in Hong Kong