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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Ridiculing courtship and the traditional battle of the sexes
SIMON PARSONS recommends an ingenious and wonderfully memorable upgrade of a classic
(L to R) Caroline Quentin as Mrs Malaprop, Peter Forbes as Anthony Absolute, Laurie Davidson as Jack Absolute and Natalie Simpson as Lydia Languish
[Brinkhoff-Moegenburg]
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
Jack Absolute Flies Again
National Theatre
RICHARD BEAN and Oliver Chris’s brilliant reworking of Sheridan’s Rivals cleverly moves the location from 18th-century Bath to a 1940s country estate billeted by an RAF squadron.
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ANDY HEDGECOCK is astonished by a portrait of contemporary Greece, complete with political protest, organised crime and people trafficking, told from the point of view of — wait for it — runaway poultry
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
MAYER WAKEFIELD is gripped by a production dives rapidly from champagne-quaffing slick to fraying motormouth
MARIA DUARTE and ANGUS REID review Friendship, Four Letters of Love, Tin Soldier and The Ballad of Suzanne Cesaire