Friday Arts Diary

Our cultural picks for the week ahead.

Cinema

Made in Britain: Warp Films at 10, British Film Institute, London, 19-30 April
April features a BFI celebration of 10 years of contemporary British cinema from a company behind several iconic stories. Continuing an annual exploration of British Cinema, last year centered on female directors, this time the focus is on the productions of Warp Films. Founded in 2001 the company has produced among others This is England and Dead Man’s Shoes. There will also be a Film Masterclass available for the aspiring cinematographers.

 

Concert

Petrenko conducts in Warwick, Warwick Arts Centre, Coventry CV4 7AL, 24 April
Conductor Vasily Petrenko and Nikolai Lugansky on piano present an all-Russian evening with Tchaikovsky's First, Liadov’s Enchanted Lake and Prokofiev’s Fifth. Among the most respected piano concertos these pieces have been described as virtuoso Cossack-rides and fairytales of reality escape. Petrenko is the Chief Conductor of the Royal Liverpool Philharmonic Orchestra and Lugansky won the 2011 BBC Music Magazine Awards in the Chamber Music category.

 

Theatre

The day I swapped my dad for two goldfish, Beacon Arts Centre, Greenock PA15 1HJ, 25 – 27 April
Neil Gaiman and Dave McKean have had another picture book turned theatre with The Day I Swapped My Dad For Two Goldfish. Following the success of The Wolves in the Walls in 2006 the play explores what happens when a spur of the moment decision turns bad and snowsballs out of control. Appropriate for anyone aged 6 or up. Created and directed by Lu Kemp and Abigail Docherty and written by Oliver Emanuel.
 

Television

The Wright Way, BBC1, Starts 23 April
A new sitcom by Ben Elton, The Wright Way stars David Haig as Gerald Wright from Baselricky Council Health & Safety Department. He tries in vain to manage his hopeless team and avoid causing the catastrophes they are meant to prevent. A biting look on bureaucracy and office incompetence from the man responsible for the Blackadder series and The Young Ones. Also starring Mina Anwar, Kacey Ainsworth, Joanne Matthews, and Robert Daws.

 

Exhibition

The Dairy Art Centre, London WC1N 1PG, opens 24 April
Former-milk-depot-turned-art-gallery The Dairy will host its inaugural exhibition of avant-garde pop culture mix from Swiss artist John Armleder. His art is described as “a celebration of reality in its everyday and most commonplace manifestations.” Not-for-profit and free for all the 12,500 sq ft centre will feature the projects chosen by collectors Frank Cohen and Nicolai Frahm. Having worked together for over 15 years the couple and collaborated and collected with many of the most prolific artists, they have called the dairy a “kunsthalle”, a space where the artworld and the public can come together.
A new play based on one of Neil Gaiman's books will premiere in Scotland. Photo: Darryl James/Getty Images
Val Doone/Getty Images
Show Hide image

“The Hole-Up”: a poem by Matthew Sweeney

“You could taste the raw / seagull you’d killed and plucked, / the mussels you’d dug from sand, / the jellyfish that wobbled in your / hands as you slobbered it.”

Lying on your mouth and nose
on the hot sand, you recall
a trip in a boat to the island –
the fat rats that skittered about
after god-knows-what dinner,
the chubby seals staring up,
the sudden realisation that a man
on the run had wintered there
while the soldiers scoured
the entire shoreline to no avail –
you knew now you had been him
out there. You could taste the raw
seagull you’d killed and plucked,
the mussels you’d dug from sand,
the jellyfish that wobbled in your
hands as you slobbered it.
You saw again that first flame
those rubbed stones woke in
the driftwood pile, and that rat
you grilled on a spar and found
delicious. Yes, you’d been that man,
and you had to admit now you
missed that time, that life,
though you were very glad you
had no memory of how it ended.


Matthew Sweeney’s Black Moon was shortlisted for the 2007 T S Eliot Prize. His latest collection is Inquisition Lane (Bloodaxe).

This article first appeared in the 21 July 2016 issue of the New Statesman, The English Revolt