Three great releases of lost concerts by Duke Ellington Orchestra, John Taylor & Stan Sulzman, and Joe Henderson
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STEF LYONS is swept along by the infectious energy of an ex-con single mother’s dreams of Nashville
LAST SUPPER BEHIND BARS: Dawn Sievewright as Rose Lynn with the cast of Wild Rose
[Mihaela Bodlovic]
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
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
Wild Rose,
Royal Lyceum, Edinburgh
I WASN’T sure what to expect with Wild Rose: all I knew was that it was something to do with Country and Western music. Sorry, Country Music (I’ve learned my lesson).
This show was a Bafta-nominated film in 2018 starring Jessie Buckley as the titular Rose-Lynn and had its world premiere on stage at the Lyceum in Edinburgh. It’s a juke-box musical about a single mother, just released from prison, trying to get back to her life but also add a bit of musical sparkle to it along the way.
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GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
MAYER WAKEFIELD is gripped by a production dives rapidly from champagne-quaffing slick to fraying motormouth