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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Laurels to Stanley
MARY CONWAY’s blood runs cold at the sight of a world steeped in animalistic masculinity
Paul Mescal as Stanley Kowalski and Anjana Vasan as as Stella
[Marc Brenner]
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
A Streetcar Named Desire
Almeida Theatre, London N1
EVERY new production of A Streetcar Named Desire reminds us of the genius of Tennessee Williams. And every new production sets out to grasp his genius in its own way.
Director Rebecca Frecknall in her new take on the play at the Almeida goes straight for the guts and lays bare its complex, bleeding heart.
Played in the round on a gleaming, stripped-bare stage, this is a director’s statement piece. Gone are the accustomed New Orleans shacks, the low-life period props, the heat, the sweat and the squalor.
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