The Friday Arts Diary

Our cultural picks for the week ahead.

Art

George Catlin: American Indian Portraits. National Portrait Gallery, London WC2, 7-23 March

The National Portrait Gallery’s latest exhibition is a collection of over 50 portraits by Pennsylvanian-born artist George Catlin (1796-1872). His portraits were intended to document the Native American peoples and their way of life. They are regarded as an important and evocative record of America’s indigenous peoples. This will be the first time that they have been shown together outside America since they were returned in the 1850s. 

Opera

Written on Skin. Royal Opera House, Covent Garden, London WC2, 8 -22 March

Award-winning director Katie Mitchell brings new light to a tale of deception and guile by author Martin Crimp and composer George Benjamin. Written on Skin draws on a 12th-century Occitan legend about a rich lord, Guillaume de Cabestanh, who commissions a book of  illuminations by an artist. The lord hopes the book will immortalise his political power, as well as documenting a sense of domestic order embodied by his obedient wife Agnes. The process of creating the book is the catalyst for his wife's rebellion. After a first successful attempt at seduction, Agnes uses her new found intimacy with the illuminator to modify the content of the book, forcing the husband, in a final act of provocation, to see her as she really is. Themes of passion, violence and love are given a lick of contemporary paint as the drama unfolds under the gaze of angels who watch over the stage. 

Film

Kinoteka, 11th Polish Film Festival. Various Locations (London, Liverpool, Belfast, Edinburgh) 7- 17 March

This week sees the 11th edition of Polish film festival, Kinoteka taking place in a number of locations in the UK. This year, along with a mix of films by fresh and established directors, Kinoteka will be hosting free film workshops for participants of all ages. These workshops include sessions for writers and directors, and animation workshops for children aged between 10 and 14. A brand new short film competition, held in conjunction with the festival, seeks entries from UK filmmakers inspired by Roman Polanski. 

Theatre

This House. National Theatre, London SE1, until 11 May 

“This country is being kept alive on aspirin, when what it needs is electric bloody shock therapy”

The year is 1974. The location, the House of Commons. The UK faces an economic crisis and a hung parliament. In parliament there reigns a culture hostile to co-operation, where party votes are won or lost by the slenderest margins and fist fights in the Commons bars are a regular occurrence. James Graham’s This House pares down politics to the realities of behind-the-scenes horsetrading.  This House examines some of the main issues facing the Wilson and Callaghan governments up to the vote of no confidence in March 1979. 

Native Americans are the subject of the George Catlin exhibition at the NPG
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