"Nixon in China" breaks all the rules

John Adams's impressive Proms performance

Proms Review: Nixon In China, Adams / Vienna Philharmonic, Haitink

John Adams’ dense, discursive Nixon in China breaks all the rules – not least in being a 20th-century opera that has found its way into the regular repertoire. The composer’s expansive minimalism expands and contracts its patternings to accommodate the personal and political currents of Richard Nixon’s iconic encounter with Chairman Mao. Performed in concert by the BBC Symphony Orchestra under John Adams itself, this was always going to be a thrilling end to the Proms’ opera season.

There’s always the danger of indulgence when it comes to composers conducting their own music, but if Adams was enjoying himself here he didn’t let it show. The pulsing motor-rhythms of Adams’ score usually generate a muscular momentum, stressing vertical moment-to-moment harmonic sensations, but under the composer’s direction a horizontal line of continuity emerged, taking the mechanistic edge off the textures and distancing Adams’ expressive, flexible style even further from fellow minimalists Reich and even Glass.

Director Paul Curran did what he could with this awkward space (the bathetic transformation of Sellars’ original landing sequence into a toy plane, passed from hand to hand, was a witty touch), but ultimately much responsibility fell the orchestra to help carry the audience from the naturalism of the early scenes to the decayed and increasingly fantastical reality of the latter.

The BBC Singers – a vocal toy plane compared to a full-size opera chorus – performed their own transformation, bringing clarity and character to Adams’ essential chorus sections. They held their own among a cast that no wish-list could better. Robert Orth’s Nixon sat just the right side of caricature, balancing his folksy artifice with beauty of vocal tone, and supported by the warmth of Jessica Rivera’s Pat. Kathleen Kim (already an astonishing Madame Mao on stage) stole hearts and scenes with the ferocious excellence of her coloratura. It was left however to Gerald Finley’s contemplative Chou En-lai to have the last word, sending us out into the night in the undulating embrace of his final aria, a passionate and poetic raging against the dying of the light.

Murray Perahia or Bernard Haitink alone could ensure a packed Royal Albert Hall. Performing together, and with the support of the mighty Vienna Philharmonic, the queues of people waiting in the small hope of returns stretched back to the doors. While Rattle and the Berlin Philharmonic this season strayed out of their core territory with excursions into Ligeti and Debussy, the Vienna Philharmonic stayed squarely in their musical heartland.

Skipping straight to the meat of the evening, Haitink opened with Beethoven’s Fourth Piano Concerto – an inspired act of defiance to programming convention that heightened Beethoven’s own. Dispensing with the usual orchestral introduction the composer allows the soloist to speak first, and in a full-to-bursting Royal Albert Hall it was left to Perahia to cut into the heavy silence with the gentle insistence of Beethoven’s chords. Neither he nor Haitink are musicians given to excess, and here we witnessed them taming into submission not only of the traditional orchestral Furies, but also an even more defiant acoustic space.

While occasional ensemble issues (and a curious moment of wind intonation) kept Haitink vigilant, Perahia was supreme in his control. His is a matter-of-fact reading of this concerto – from the start there’s no doubt that his solo piano will prove victorious – but amid this understated precision a joyous syncopated emphasis emerged. Mined often by soloists for its lyricism, the concerto is lively with offbeat accents, passages that strive against the prevailing current, which achieved characterful dominance here.

Bruckner’s unfinished 9th Symphony completed the evening, performed in its three-movement version rather than with any of the various scholarly completions. It’s a choice that leaves listeners in desperate uncertainty of the Adagio – a powerful cry of fear by a composer staring into the abyss of modernism.

Haitink’s authority in this repertoire in unequalled, and the measured tread of his pacing generated a Scherzo whose humour was black indeed and an Adagio that, if it lacked quite the fragmentary desperation of some performances, confronted terrors with steady gaze. The Vienna strings cast aside Beethovenian brilliance for a weightier sound, aided by a brass section who brought portent and authority rather than all-out force.

What a week to bring the 2012 BBC Proms to a their close, leading us down into the darkest musical place in the fears of old men before taking us back into the light in an exuberant programme for the Last Night. For my part though the festival can keep their sea-shanties and Rule Britannias – I’ll be wallowing just a little longer in the gorgeous darkness, savouring the torment with Haitink and the Vienna Philharmonic.

Mao shakes hands with Nixon in 1972. Photograph: Getty Images
Photo: NRK
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Skam, interrupted: why is the phenomenally popular teen drama ending before its peak?

The show has been building towards high school graduation – but now it’s ending before its lead characters finish school.

“Have you heard they started their bus already?”
“No!”
“One month into high school – and they started their bus.”

This Skype conversation between Eva and Isak comes early in the first episode of Skam. The phenomenally internationally successful series follows teenagers at a high school in Oslo. The “bus” they're discussing is a key plot point and concern of the students' lives. That’s because, in Norway, graduating high school students participate in “russefeiring” – it’s a rite of passage into adulthood, a celebration of completing high school, and a farewell to friends departing for university or jobs around the country.

Students gather into groups, give their gang a name, wear matching coloured overalls, rent a big car or a van, and spend late April to mid May (17 May – Norwegian Constitution Day) continuously partying. They call it the “three week binge”. It’s a big fucking deal. 

Skam, with its focus on teens in high school, has therefore spent a lot of time thinking about “russ”. The show, which is set at the exact same time it airs, has followed its four main characters Eva, Noora, Isak and Sana (who each have a season of the show written from their perspective, a la Skins), as well as all their friends, from their first few weeks at school in September 2015. In other words, preparations take years, and we’ve heard a lot about the plans for their russ bus.

In season one, Eva has fallen out with her best friend, and is hurt when she hears she is moving on and has formed a new bus, with new friends, called Pepsi Max.

We meet one of the show’s most prominent characters, Vilde, when we see her trying to get a bus of girls together. The show’s five main girl characters, Eva, Noora, Vilde, Chris and Sana, become friends because of her efforts: they bond during their “bus meetings” and fundraising attempts. They flirt with a group of boys on a bus calling themselves “The Penetrators”.

The latest season follows Sana’s struggles to ensure the bus doesn’t fall apart, and an attempt to join buses with rivals Pepsi Max. The joyful climax of season four comes when they finally buy their own bus and stop social-climbing, naming themselves “Los Losers”. Bus drama is the glue that keeps the show together.

But now, in June 2017, a whole year before the characters graduate, Skam is ending. The architect of the girls’ bus, Vilde, has never had her own season, unlike most of her friends. Many assumed that Vilde would have had her own season during her final year at school. Fans insist the show’s creator Julie Andem planned nine seasons in total, yet Skam is ending after just four.

The news that Skam would stop after season four came during the announcement that Sana, a Muslim member of the “girl squad”, would be the next main character. The show’s intense fandom were delighted by the character choice, but devastated at the news that there would only be one more season. “I can’t accept that this is the last season,” one wrote on Reddit.

“I'm so shocked and sad. It’s honestly just...weird. It doesn’t make sense, and it’s not fair. It’s not fair that we’re not getting a Vilde season. Most importantly, it’s not fair that we’ll never get to see them on their russ, see them graduating, nothing. It seems like such an abrupt decision. It doesn’t serve the storyline at all.”

No one has given a concrete reason about why the show ended prematurely. Ina, who plays Chris, said in an interview that “we all need a break”.

Some fans went into denial, starting petitions to encourage Andem to continue with the show, while rumours abound suggesting it will return. 

Many speculated that the show simply became too popular to continue. “I think that the show would have had six seasons and a Vilde season if the show didn’t become popular outside of Scandinavia,” one wrote. “I think the pressure and the large amount of cringy fans (not saying that some Scandinavian fans aren’t cringy) has made making the show less enjoyable for the actors and creators.”

Andem has stayed mostly quiet on her reasons for ending the show, except for a statement made via her Instagram. She recalls how very early on, during a season one shoot, someone first asked her how long the show would last:

“We were standing in the schoolyard at Nissen High School, a small, low-budget production crew, one photographer, the sound engineer and me. ‘Who knows, but I think we should aim for world domination,’ I said. We all laughed, ‘cause I was obviously joking. None of us understood then how big Skam would turn out to be. This experience has been completely unreal, and a joy to be a part of.”

Skam has been a 24/7 job,” she continues. “We recently decided that we won’t be making a new season this fall. I know many of you out there will be upset and disappointed to hear this, but I’m confident this is the right decision.”

Many fans feel that season four has struggled under the burden of ending the show – and divisions and cracks have appeared in the fandom as a result.

Some feel that Sana’s season has been overshadowed by other characters and plotlines, something that is particularly frustrating for those who were keen to see greater Muslim representation in the show. Of a moment in season four involving Noora, the main character from season two, one fan account wrote, “I LOVE season tw- I mean four. That’s Noora’s season right? No wait, is it Willhell’s season??? What’s a Sana.”

Others feel that the subject of Islam hasn’t been tackled well in this season. Some viewers felt one scene, which sees Sana and her white, non-Muslim friend, Isak, discuss Islamophobia, was whitesplainy. 

One popular translation account, that provides a version of the show with English subtitles, wrote of the scene: “A lot of you guys have been disappointed by the latest clip and you’re not the only ones. We do want to finish this project for the fans but we are disappointed with how this season has gone.” They announced they would be translating less as a result.

The final week of the show has been light on Sana. Instead, each character who never received a full season has had a few minutes devoted to their perspective. These are the other girls from the girl squad, Vilde and Chris, and the boyfriends of each main character: Eva’s ex Jonas, Isak’s boyfriend Even, Eva’s current fling “Penetrator Chris” and Noora’s on-off boyfriend William.

It’s understandable to want to cover key perspectives in the show’s final week, but it can feel teasing – we get a short glimpse into characters' home lives, like Vilde struggling to care for her depressed mother, but the scene ends before we can really get into it. And, of course, it takes precious time away from Sana in the show’s final minutes.

Some were frustrated by the characters focused on. “Penetrator Chris” is a particularly minor character – one fan account wrote of his scene: “This is absolutely irrelevant. 1) It sidelines Sana 2) It asks more questions 3) It doesn’t answer shit. This isn’t even Sana’s season anymore and that’s absolutely disgusting. She didn’t even get closure or ten episodes or anything.

“Sana has been disrespected and disregarded and erased and sidelined and that is fucking gross. She deserved better. Yet here we are watching a Penetrator Chris clip. How ironic that it’s not even called just “Christopher” because that’s all he is. “Penetrator Chris”.

It’s been a dramatic close for a usually warm and tight-knit fan community. Of course, many fans are delighted with the final season: their only sadness is there won’t be more. One of the largest fan accounts tried to keep things positive. “I know people have mixed feelings about Skam and who deserves what in terms of screentime this season (etc),” they wrote, “which I totally understand.

"However, everything has already been filmed, so there is nothing we can do about it. I think this last week of Skam will be much more enjoyable for everyone if we focus on the positives in the clips ahead. Skam isn’t perfect. People are allowed to disagree. But let’s go into this week being grateful for everything Skam has given us.”

Some fans choose to look to what the future holds for the show – an American remake. It will keep the same characters and plotlines as the original, and Andem may be involved.

Few think it will be a patch on the current show, but some are excited to have the chance to watch it teasingly as a group regardless. It seems unlikely that the US remake will compare in terms of quality – not least because the original was so heavily researched and tied to Norwegian culture. But for fans struggling to let go of Skam, it can’t come soon enough.

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

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