The Friday Arts Diary

Our cultural picks for the week ahead.

Music

Barbican Centre, London, EC2: The Cinematic Orchestra, 30 June

The Barbican hosts Jason Swinscoe's Ninja Tunes project. Combining jazz improvisation, sampled soundtrack music, film images and dance music tropes, this orchestra achieves a variety and beauty not to be underestimated. Originally written for a string quartet, from visuals such as René Clair’s surrealist Entr’acte (The Cinematic Orchestra) and Peter Tscherkassky’s Outer Space (Dorian Concept and Tom Chant), the final product has a depth of emotion which can take the breath away. This is their final date in the UK before they move on to Italy.

Literature

Hampstead Heath, London: Walking Book Club, 1 July

This week the book-lovers from the Walking Book Club will turn to Vita Sackville-West’s All Passion Spent. Written as a fictional companion to Virginia Woolf’s A Room of One’s Own, this novel follows newly-widowed Lady Slane as she rents a house in Hampstead to begin a new life. Introducing the reader to a variety of Lady Slane’s new friends and a few figures from her past, this novel extols the virtues of following one’s desires, no matter how late in life. This free event, open to all readers and their walking companions, offers participants a chance to discuss the book in an informal setting.

Cinema

Queen of Hoxton, London, EC2: Easy Rider, 1st July

The Rooftop Film Club gives cinema lovers an opportunity to see classic films in the open air. On Sunday they give their screen over to Easy Rider, the 1969 classic directed by and starring Dennis Hopper. Easy Rider is the tale of two bikers who head from LA to Florida to retire after a major cocaine sale. A cult favourite, this film discusses themes of freedom, boundaries and establishment and offers a detailed portrait of its time.

Theatre

AE Harris and mac Birmingham, Birmingham: Be Festival 2nd July- 8th July

This year’s Be Festival is the third to be held in Birmingham as part of a Europe-wide project to unite cultures and individuals through theatre. This year, mac Birmingham will host the winning show from the BE festival 2011, As the Flames rose, we danced to the sirens, the sirens by the Sleepwalk Collective. AE Harris will show four thirty-minute shows each night from  this year’s entrants, each accompanied by dinner, music, drinks and an after show party. All shows come from across the continent and are designed to be viewed and understood by everyone, regardless of language.

Exhibitions

Piper Gallery, London W1: Inaugural exhibition: Then and Now: Edward Allington and Vaughan Grylls

This week marks the launch of a new contemporary art gallery. Piper Gallery will represent artists who are continuing to produce innovative work at least 40 years into their careers. Those exhibiting include Edward Allington, Tess Jaray and Francis West.

The Cinematic Orchestra will be playing at the Barbican Centre on 30th June. Photo: Getty Images
BBC
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Would the BBC's Nazi drama SS-GB have felt half so resonant a year ago?

This alternate history is freighted with meaning now we're facing the wurst-case scenario. 

Would SS-GB have felt half so resonant a year ago? Though the clever-after-the-fact Nostradamus types out there might disagree, I can’t believe that it would. When it comes to the Second World War, after all, the present has helpfully stepped in where memory is just beginning to leave off. The EU, in the process of fragmenting, is now more than ever powerless to act in the matter of rogue states, even among its own membership. In case you hadn’t noticed, Hungary, for instance, is already operating as a kind of proto-fascist state, led by Viktor Orbán, a man whom Jean-Claude Juncker, the president of the European Commission, jokingly likes to call “the dictator” – and where it goes, doubtless others will soon follow.

The series (Sundays, 9pm), adapted from Len Deighton’s novel, is set in 1941 in a Britain under Nazi occupation; Winston Churchill has been executed and the resistance is struggling to hold on to its last strongholds in the countryside. Sam Riley plays Douglas Archer, a detective at Scotland Yard, now under the control of the SS, and a character who appears in almost every scene. Riley has, for an actor, a somewhat unexpressive face, beautiful but unreadable. Here, however, his downturned mouth and impassive cheekbones are perfect: Archer, after all, operates (by which I mean, barely operates) in a world in which no one wants to give their true feelings away, whether to their landlady, their lover, or their boss, newly arrived from Himmler’s office and as Protestant as all hell (he hasn’t used the word “degenerate” yet, but he will, he will).

Archer is, of course, an ambiguous figure, neither (at present) a member of the resistance nor (we gather) a fully committed collaborator. He is – or so he tells himself – merely doing his job, biding his time until those braver or more foolhardy do something to restore the old order. Widowed, he has a small boy to bring up. Yet how long he can inhabit this dubious middle ground remains to be seen. Oskar Huth (Lars Eidinger), the new boss, is keen to finish off the resistance; the resistance, in turn, is determined to persuade Archer to join its cause.

It’s hard to find fault with the series; for the next month, I am going to look forward to Sunday nights mightily. I would, I suppose, have hoped for a slightly more charismatic actress than Kate Bosworth to play Barbara Barga, the American journalist who may or may not be involved with the British resistance. But everything else seems pretty perfect to me. London looks suitably dirty and its inhabitants’ meals suitably exiguous. Happiness is an extra egg for tea, smoking is practically a profession, and
the likes of Archer wear thick, white vests.

Swastikas adorn everything from the Palace of Westminster to Trafalgar Square, Buckingham Palace is half ruined, a memorial to what the Germans regard as Churchill’s folly, and the CGI is good enough for the sight of all these things to induce your heart to ache briefly. Nazi brutality is depicted here as almost quotidian – and doubtless it once was to some. Huth’s determination to have four new telephone lines installed in his office within the hour is at one end of this horrible ordinariness. At the other is the box in which Archer’s mutinous secretary Sylvia (Maeve Dermody) furiously stubs out her fag, full to the brim with yellow stars.

When I first heard about The Kettering Incident (Tuesdays, 12.20am; repeated Wednesdays, 10pm) I thought someone must have found out about that thing that happened one time I was driving north on the M1 with a more-than-usually terrible hangover. Turns out it’s a new Australian drama, which comes to us on Sky Atlantic. Anna (Elizabeth Debicki), a doctor working in London, pitches up back in Tasmania many years after her teenage friend Gillian disappeared into its Kettering forest, having seen a load of mysterious bright lights. Was Gillian abducted by aliens or was she, as some local people believe, murdered by Anna? To be honest, she could be working as a roadie for Kylie, for all I care. This ponderous, derivative show is what happens when a writer sacrifices character on the altar of plot. The more the plot thickens, the more jaw-achingly tedious it becomes.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 24 February 2017 issue of the New Statesman, The world after Brexit