Giles Coren with the Robshaw family in “Back in Time for Dinner”.
Show Hide image

Which is worse: working at KFC in 2015 or toiling in a 1950s family kitchen?

Rachel Cooke reviews The Billion Dollar Chicken Shop and Back in Time for Dinner.

The Billion Dollar Chicken Shop; Back in Time for Dinner

There’s something heartbreaking about The Billion Dollar Chicken Shop (Wednesdays, 9pm), which goes behind the scenes at KFC’s British operation. I think this has to do with the staff, who remain relentlessly cheery no matter how long their hours or how abusive their customers. “It’s very much like the Oscars,” said Dom, the manager of the Havant drive-through, of the company’s annual awards dinner, a festival of coloured bow ties and Jim’ll Fix It-style beribboned medals. Inspired, he returned to Havant more determined than ever to shift deluxe boneless feasts – buckets of fun that would, he explained, be turned out by his ace head chef, Chad, a loyal employee of seven years. Luckily, Chad doesn’t remotely mind spending his days elbow deep in dismembered poultry. “I used to be an undertaker,” he announced, ducking into an ominous-looking cold room.

The colonel arrived in Britain in 1965 and made straight for Preston. Since then, his empire has grown far beyond Lancashire. Today, there are 865 restaurants in the UK; the plan is to open 35 every year until there are 1,300. There’ll always be naysayers, those puritans and Nimbys who sneer at Popcorn Nuggets and Wicked Zingers. But what do they know? Have any of them ever been inside a KFC? In Middleton, in Greater Manchester, it was clear that a local residents’ association wasn’t well acquainted with the colonel’s secret blend of herbs and spices. Not that this made its opposition to KFC’s arrival in the next street any less valid. Who, after all, would want to see a giant, illuminated beard rising above their laurel bushes? Even the company’s acquisitions manager hedged when he was asked how he would feel about living opposite a KFC.

“If we win this, we’ll sit in that garden with a bottle of champagne and get bladdered,” said Irene to her friend Pat as they planned their campaign. Alas, the champagne turned out to be as much of a mirage as the hope that the council would listen to them. At a planning meeting, KFC did a weasel move, promising to close its new restaurant at 9pm, after which it received the green light. The film cut to KFC HQ in Woking, where the acquisitions manager could be heard telling his boss triumphantly that this compromise did not “close the door” on later opening hours in Middleton in the future. Poor Irene. Poor Pat. What
use are their garden loungers now?

It was instructive watching The Billion Dollar Chicken Shop in close proximity to Back in Time for Dinner (Tuesdays, 8pm), in which an “ordinary British family” pretended it was the 1950s, with a fridge-free kitchen, a tub of dripping and a five-ounce serving of liver (the series, presented by Giles Coren, is in six parts and will move through the decades accordingly). As is the way with this kind of TV, the idea is to patronise the past as much as possible, the better that we might feel good about our own times – or, at least, about how we own a dishwasher. And so it proved. The Robshaws hated everything about the 1950s. The subsidised brown loaf made them ill; a cake made from dried eggs tasted almost as bad as it looked; even the tin opener was rubbish. Rochelle Robshaw struggled under the weight of the 75 hours a week of housework she was expected to put in and seemed to feel joy only when she was finally given some fish fingers (they arrived in 1955).

Now, rationing was disheartening and, in the 1950s, many women did feel life to be just one long round of chores. But is working for the minimum wage in KFC any less demoralising than using a mangle? Beth, a sweetheart who puts in 14-hour shifts at the Denton Rock branch in Manchester, didn’t seem ecstatic to be there, for all that her smile was as wide as the M60. Pilchards are indeed rank. But is a KFC Twister – don’t even ask! – really more appetising than dripping on toast? Dripping is on all good hipster menus these days. The diet of austerity Britain was close to sugar free, which isn’t something you can say of the KFC menu.

The past isn’t, as the Daily Mail likes to suggest, better than the present. Still, I’d be wary of insisting that it was worse on every measure. Better soggy cauliflower and pink blancmange than a Big Daddy burger and a Skittles Krush’Em.

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 19 March 2015 issue of the New Statesman, British politics is broken

Youtube Screengrab
Show Hide image

Shell-shock symphony: Berg’s Wozzeck – opera’s take on post-traumatic stress disorder

Begun in 1914 and premiered in 1925, Wozzeck has class struggle, poverty and mental health problems as its principal subjects.

When I was 12 years old, I made a devastating discovery. The arias from my favourite operas – Rigoletto, Turandot, The Barber of Seville – which I played over and over again, winding and rewinding the cassettes ­until they ceased to work, did not ­necessarily have words that matched the beauty of the music. Intense study of a book I had received for Christmas called Stories from Opera taught me that although some of the soaring melodies I adored carried words about love, death, horror and tragedy, other lyrics, in translation, proved to be people agreeing where to meet later, or misremembering each other’s names.

This crushing disappointment came to mind again recently while I was listening to an edition of Radio 3’s Building a Library, a segment of its regular Saturday-morning CD review, in which new releases are compared and contrasted with archive recordings to find the best listening experience. The reviewer Gillian Moore was surveying the available recordings of Alban Berg’s Wozzeck. She gave credit to several English-language recordings for the clarity they offer newcomers to this work, but eventually concluded that she must recommend a version using the original German, because there were crucial aural elements that could not be reproduced without it.

Moore, now director of music at the Southbank Centre, chose to kick off a series of semi-staged concert performances of operas with Wozzeck. Although undoubtedly an opera, it was a far cry from the fairy stories and doomed romances that filled my pre-teen ears, but it worked surprisingly well stripped of scenery, costumes and other theatrical accoutrements.

Zurich Opera’s presentation placed importance on the orchestral score above all else, allowing its jagged and insistent lines to remind us that this is music born of the dark years between the world wars. Begun in 1914, but delayed while Berg served in the Austro-Hungarian army (it premiered in 1925), it has class struggle, poverty and mental health problems as its principal subjects. The score owes much to Berg’s fellow Viennese composers Gustav Mahler and Arnold Schoenberg (Mahler’s widow put up the money for the initial publication of the score). At times in this production, the orchestra was so utterly central that it felt like a symphony with singing, rather than vocal melodies with accompaniment.

The Wozzeck of the title is a poor soldier, flawed and dogged by madness and visions we would probably now see as signs of post-traumatic stress disorder. He scrapes a living for his girlfriend, Marie, and their son by humiliating himself before his military and class superiors (the Captain, the Doctor, the Drum Major) and by participating in degrading medical “experiments”. The star of the show, the German baritone Christian Gerhaher, had to withdraw at the last minute for health reasons, so the British singer Leigh Melrose stepped in to reprise his Wozzeck from the widely acclaimed 2013 ENO production. Despite performing from behind a music stand, Melrose acquitted himself well, handling the transitions between Berg’s three singing styles: “half-singing”, Sprechgesang (or “spoken singing”) and full vocalisation to great effect.

Gun-Brit Barkmin, with a severe Twenties bob and a flowing scarlet dress, was a superb Marie – alternately harsh and soft as the music demanded it, flirting destructively with the Drum Major while conveying how little choice she had in the matter. Of the ensemble, Lars Woldt’s Doctor particularly stood out, using the German libretto to drag every ounce of black comedy out of his character’s fascination with Wozzeck’s bodily functions. The high vocal standard proved Moore’s point about the necessity of the original German libretto – it is a difficult language to sing, because of all the harsh consonants and modified vowels, but when used expertly can be unendingly expressive. We hear this in the way the double “zz” of the title character’s name becomes a derisory bitten-off “tz” in the mouth of the Captain; and Wozzeck’s exclamation in Act I that “Du, der Platz ist verflucht!” sounds so much more accursed and deranged with all those consonants in such close proximity.

The German sociologist Theodor Adorno once called Berg “the foreign minister of the land of his dreams”, much to the composer’s amusement; but, hearing the score for Wozzeck laid so bare, you understand what Adorno meant. The incredible double crescendo on a single B from the orchestra after Wozzeck murders Marie – raised by the conductor Fabio Luisi in this performance to an unbearable volume before being allowed to die away – feels like music from an other-worldly nightmare. Yet, for the war-battered men who inspired Wozzeck, his tragic half-life was all too real.

Caroline Crampton is web editor of the New Statesman.

This article first appeared in the 08 October 2015 issue of the New Statesman, Putin vs Isis