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 Tarantino-style blend of humour and violence
AMUSINGLY BLUNT: (L to R) Cecilia Noble (She), Tamara Lawrance (Racine) and Adelayo Adedayo (Anaia)
[Tristram Kenton]
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
Is God Is
Royal Court Theatre
ALESHEA Harris’s award winning play opened to rave reviews in New York in 2018 and now explodes on to the stage at the Royal Court with Ola Ince’s taut, visceral production.
Black twin sisters Racine and Anaia emerge from nowhere, scarred and on a mission to avenge their mother who as far as they are concerned has risen from the dead and understandably wants revenge on her former husband.
Their blood-spattered quest takes them to the mountains of California in an attempt to trace their father, now living a respectable middle-class married life with a disenchanted wife and a new set of twins.
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GEORGE FOGARTY is dazzled by a breathtakingly skillful puppet version of Shakespeare’s greatest love poem
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
PETER MASON applauds a stage version of Le Carre’s novel that questions what ordinary people have to gain from high-level governmental spying
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship