Cultural highlights of 2021 included a stunning “Rigoletto” at the Royal Opera House, a haunting new film by Jane Campion and a raucous novel by Shalom Auslander
end, is art really worth? That is the question at the heart of “Indecent”, a play about a play that was staged at the Menier Chocolate Factory in London this year. tells the story of “God of Vengeance”, a melodrama in which Asch, a Polish Jew writing in Yiddish, depicted a passionate affair between the daughter of a brothel-keeper and a prostitute. “Burn it!” he was advised by luminaries of the once-vibrant Yiddish theatre.
The past year, like the one before it, has posed a similar question, if in diluted form. In a pandemic-stricken world, in which the future seems precarious and loved ones are often off-limits, what comfort can the imaginings of strangers offer? Especially when seeing those strangers in the flesh has been forbidden or risky. Surveying his highlights of the year, your Back Story columnist’s answer is: a lot of comfort. As much as ever, or more.
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