Arinzé Kene is having a bit of a moment. He won an Evening Standard Film Award for The Pass opposite Russell Tovey in 2016, is about to appear in a BBC drama with Paddy Considine, and has just finished lending his lovely tenor to Conor McPherson’s Girl from the North Country in the West End.

The delicious flame-grilled burgers and the vast array of bourbons on offer at the Lexington, hard by yet another “King's Cross Quarter”, added atmosphere to the opening night of Diana Jones’s European tour. Finger licking is (quite rightly) not allowed during the music so those arriving early for a bite might have spotted Jones herself, refuelling with friends between sound-check and curtain-up.

They don’t commission many television documentaries like Being Blacker (BBC Two) any more. That is not unconnected to the fact that Molly Dineen downed her camera a decade ago.

David Bailey taught Nureyev to dance at the Ad Lib club in London in the Sixties. “He was very stiff. He could do all that Swan Lake stuff but he couldn’t do the twist,” remembers Bailey in one of My Generation’s voiceover interviews, some vintage, some in conversation today.

Lisa Halliday’s striking debut novel consists of three parts. The first follows the blooming relationship between Alice and Ezra (respectively an Assistant Editor and a Pulitzer Prize-winning writer) in New York; the middle section comprises a series of reflections narrated by Amar, an American-Iraqi while he is held in detention at Heathrow en route to see his brother in Iraqi Kurdistan.

Workrate of the Week award goes to Lennie James, who not only stars in this new six-part drama but wrote and executive-produced it as well. James (who starred in the first series of Line of Duty, and has hit it big in The Walking Dead) plays the central character Nelly Rowe, a wily chancer living on a Deptford council estate who suddenly finds his chequered past catching up with him.

London Rules – explicitly cover your arse – is the fifth in the most remarkable and mesmerising series of novels, set mostly and explicitly in London, to have appeared in years.

Director Alex Barrett’s wordless London Symphony is a conscious throwback to the silent "city symphonies" of the 1920s, specifically Walter Ruttmann’s 1927 Berlin - Symphony of a Great City. You’re also reminded of Terence Davies’s Of Time and the City and Patrick Keillor’s discursive Robinson trilogy, though these feature narrators.

Very well, so ENO's latest Gilbert and Sullivan spectacular was originally to have been The Gondoliers directed by Richard Jones and conducted by Mark Wigglesworth. But that Venetian fantasia has already been seen at the Coliseum in recent years, and Iolanthe - which I can't remember experiencing live with a full orchestra since the declining years of the D'Oyly Carte - ranges wider.

It says something about the state of television that sooner or later every actor has to play a cop or a spy. Latest in line is Carey Mulligan, starring as DI Kip Glaspie in David Hare’s new four-parter Collateral.