Friday Arts Diary

Our cultural picks for the week ahead.

 

Film

Independent Cinemas - Berberian sound studio, 31 August

Following up his lauded debut, Katalin Varga, Peter Strickland’s Berberian Sound Studio is being called the stand-out film at this year’s Edinburgh Film Festival. Gilderoy (Toby Jones) is a reserved but prominent sound engineer employed by director Santini (Antonio Mancino) to create the soundtrack to his hammy horror film. In the claustrophobic studio, Gilderoy sets to the gruesome work of mutilating vegetables in facsimile of on-screen violence, yet as his psychological strain makes itself known boundaries start to blur.

Art

Southbank Centre – Unlimited, 30 August – 9 September

The Olympics and art have had a close relationship ever since 1912, when art competitions figured as part of the games. Timed to coincide with this year’s Paralympics, Unlimited is a Southbank exhibition that has invited deaf and disabled artists to push themselves to reach previously unattained goals. Consisting of 29 commissions, Unlimited's range includes dance, live arts, visual arts, music and theatre.

Book

Mortality – Christopher Hitchens, 1 September

When author and former New Statesman staffer Christopher Hitchens died last December, a wave of tributes came from public figures as diverse as Tony Blair, Richard Dawkins and Martin Amis. His 13th and final book, Mortality, is published this Saturday. An exploration of how his cancer was "deporting" him “from the country of the well across the stark frontier that marks off the land of malady”, Mortality is a haunting account of one man lucidly examining his on coming death.

TV

BBC1 - Dr who 1 September, 7.20

In this weeks New Statesman, Alwyn W Turner examines the Daleks’ history as SF representations of the Nazi in time for the new Dr Who series, which will land on British TV screens this Saturday. At the ripe old age of 49, the cry of "Exterminate!" is getting a little tired, though we’ve been told that celebrated writer Steven Moffat has found an original angle to teach old Daleks new tricks - for the first time in the show's history they need Dr Who’s help.

Festival

Granary Square - King’s Cross Ice cream Festival, 1-2 September

Did you know that Carlo Gatti, the man who brought who brought ice cream to England, lived in King’s Cross? From his house he sold his famous "penny licks", which will be brought back by the Kings Cross Ice Cream Festival this weekend. As well as celebrating the history of the treat, the free festival will showcase the best of London ice cream and offer visitors the opportunity to be inducted into the craft all the way from milking the cow to the first lick.

Ice cream eating, which there will be plenty of opportunity to do at Kings Cross Ice Cream Festival (Image: Getty)
Harry Potter and the Cursed Child
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New Harry Potter and the Cursed Child pictures: an analysis

What do the new cast photos tell us about what we can expect from the Harry Potter play?

With the first public performance only a week away, the team behind Harry Potter and the Cursed Child have released the first in costume cast photos of three of its stars: Harry, Ginny and their son, Albus.

But what do the new pictures tell us about what we can expect from the play? Here’s your annotated guide.

Harry

Harry is suited up like the civil servant we know he has become. When we left him at the end of book seven, he was working for the Ministry of Magic: JK Rowling has since revealed he became the youngest head of the Auror Office at 26, and the play description calls Harry “an overworked employee of the Ministry”. Jamie Parker’s costume suggests a blend of the traditional establishment with Harry’s rebelliousness and familiarity with danger.

Parker told Pottermore of the costume, “He’s wearing a suit because he’s a Ministry man, but he’s not just a bloke in a suit, that’s way too anonymous.”

Ginny

Ginny looks like a mix of the cool girl we know and love, blended with her mother, and a little something else. She has a perfect journalist’s bob (Ginny became a Quidditch reporter after a career as a professional player), paired with a “gorgeous, hand-knitted jumper” reminiscent of the Weasley’s Christmas sweaters. In silhouette, she might look like her mum with an edgier haircut, but with (literally) cooler colours and fabrics.

Actress Poppy Miller said the costume matches Ginny’s personality: “Kind and cool, exactly as I imagined her.”

Albus

Albus’s costume is perhaps more interesting for what it hides than what it reveals – we are given no suggestion of what house he might be sorted into at Hogwarts. This is particularly interesting knowing Albus’s nerves about being sorted: the final book ended with him asking his father, “What if I’m in Slytherin?”. Rowling writes, “The whisper was for his father alone, and Harry knew that only the moment of departure could have forced Albus to reveal how great and sincere that fear was.”

Actor Sam Clemmett said, “This is what Albus wears at the start of the show. I had the idea he was wearing James’s – his older brother’s – hand-me-downs. So I wanted him to feel quite uncomfortable, and be able to play with his clothes.”

His oversized second-hand clothes also emphasise how important the role of family inheritance will be in the play. The only reminder of Albus’s older siblings, they call to mind both his Weasley heritage (Ginny and her siblings were teased for their hand-me-down robes) and the enormous legacy of his father. The play description notes, “While Harry grapples with a past that refuses to stay where it belongs, his youngest son Albus must struggle with the weight of a family legacy he never wanted.”

Family portrait

Again, this group picture is interesting for absences – there are no Potter siblings here, further suggesting that Albus will be the main focus of this new story. It also continues to place an emphasis on family through the generations – if Albus donned a pair of specs, this could easily be a picture of James, Lily and Harry. Even the posture is reminiscent of the Mirror of Erised shot from the first movie.

An intriguing hint at what next week’s play might hold for audiences.

Anna Leszkiewicz is a pop culture writer at the New Statesman.