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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Theatre Review: Blood Knot, Orange Tree Richmond-upon-Thames
Athol Fugard's explosive family drama resonates in the era of Black Lives Matter
Excellent: Kalungi Ssebandeke and Nathan McMullen
[Richard Hubert Smith]
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
SOUTH Africa, 1961. Morrie Pietersen (Nathan McMullen) and his half-brother Zach (Kalungi Ssebandeke) live together in the putrid shanty town of Korsten, Port Elizabeth.
Morrie, light-skinned and bookish, dreams of a two-man farm in one of the “blank spaces” on the map while Zach, illiterate and weathered from working long hours in menial jobs, seeks only the company of women and old memories of nights on the town.
It’s a story that in Athol Fugard’s play pits the “blood knot” against the politics of colourism — prejudice or discrimination against individuals with a dark skin tone among people of the same ethnic or racial group — as this complex family drama unfolds.
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