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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Rare Edward Bond play
MAYER WAKEFIELD shares a memorable evening with Britain’s greatest living dramatist
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[Francesco Codardo]
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
Have I None
by Edward Bond
Golden Goose Theatre, Camberwell
IT IS rather telling that in the video interview that follows Four Point Theatre’s production of Have I None, Edward Bond admits that he had to go back and read the play as “he’d forgotten it.”
To be fair to him, he is now in his late eighties and has written well over 40 plays in an unparalleled career which has led some to call him Britain’s greatest living dramatist.
Considering the depth of his canon, the decision to stage Have I None in isolation is a slightly puzzling one.
Originally part of an early 2000s trio known as The Chair Plays, this short play has flashes of intrigue, but feels more like sketch than a fully realised work.
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