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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Smoke-filled living room
WILL STONE admires a revival of Pinter’s dark exploration of male chauvinism and sexuality
(L - R) Nicolas Tennant, Jared Harris, Robert Emms and David Angland in The Homecoming
[Manuel Harlan]
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
The Homecoming
Young Vic
SMOKE as thick as fog looms across a large room in a ’60s London home as free jazz blares out from an old gramophone on the floor in Moi Tran’s atmospheric set for director Matthew Dunster’s revival of The Homecoming, one of Harold Pinter’s darkest plays.
The Big Smoke it may be, but it soon becomes apparent that in this testosterone-fuelled house everyone smokes like chimneys. There are no women (yet) only bitter and broken men.
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