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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
Theatre: King Lear
In its depiction of societal and personal breakdown, a new production of King Lear by Sam Mendes speaks directly and uncomfortably to our own times, says GORDON 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
King Lear
National Theatre, London SE1
4 Stars
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JAN WOLF enjoys a British revival of the 1972 come of age farce/panto Pippin
MAYER WAKEFIELD is gripped by a production dives rapidly from champagne-quaffing slick to fraying motormouth
JAN WOOLF is beguiled by the tempting notion that Freud psychoanalysed Hitler in a comedy that explores the vulnerability of a damaged individual
‘Honest’ Tom Wharton’s 1682 drunken rampage through St Mary’s church haunted his political career, but his satirical song Lillibullero helped topple Catholic James II during the Glorious Revolution, writes MAT COWARD