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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An emotionally satisfying outcome
JAN WOOLF sees a moving play about one man who has been used as a commodity of war
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
Warheads
Park Theatre 90
“I sign up for the front line and come back with an acronym,” the confused, angry young man shouts at his therapist, who has just told him he has PTSD.
The therapist — all vulnerable intelligence, struggling with a difficult case (a fine nuanced performance from Sophie Couch) — carries the play’s strong sub-theme on the therapeutic process, and what it takes to make a traumatised young working-class man open up about his symptoms.
There is a personal dimension to this work — as it’s based on co-writer and lead actor Taz Syklar’s best friend.
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