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Celebrating chenin, the chameleon, global grape | Wine

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My wine consultant friend, Ruth Osborne, often wears a cap embroidered with the words “chenin blanc”. As someone who is proud to include hats from Toad bakery and Celine Dion’s 2017 UK tour in her collection, I know all about headwear as a signifier of personal brand, and Ruth isn’t the only person in the business to extol the virtues of chenin. But why?

Chenin blanc shape-shifts with soil and climate perhaps more than any other grape, and it is this chameleon quality that sets wine enthusiasts aflutter, as does the fact that it’s a late-ripening variety with good acidity, so lends itself to a whole spectrum of profiles, from dry to sweet. Versatile, aesthetically ambiguous and, as my friend’s hat testifies, cultish in its appeal, it is the Tilda Swinton of grapes.

With up to 35,000 hectares of the stuff planted worldwide, it is a global grape, too. But, unlike the leading players such as chardonnay and cabernet sauvignon, chenin is associated with very defined areas. In South Africa, which grows more than half the world’s crop, it runs the gamut from mass-produced and affordable to premium and terroir-driven. France, meanwhile, has about a third of the world’s chenin vines, over 90% of them in the Loire valley; there are also small parcels in the US, Australia and South America, though you might struggle to find much in common between them beyond being broadly definable as “white wine”.

Take the Loire, where the appellations of Vouvray and Savennières sit just 80 miles apart, but produce chenins that are chalk and cheese (or, rather, chalk and schist – the rocks that characterise their respective soil types and, in turn, the flavours of the wines they produce). Savennières is associated with bone-dry, mineral and grapefruit-y wines, and Vouvray more for its richer, pear-ish notes – and for wines that vary dramatically in sweetness, which renowned American wine merchant Kermit Lynch describes “as a complete little cosmos of wines ranging from gay to profound”. Marks & Spencer’s Clos de Nouys Vouvray (£14, 12.5%) is one example of the former, while winemaker Peter Hahn’s otherworldly Clos de la Meslerie Vouvray Sec (see today’s pick) is all golden quince, mineral and, yes, utterly profound. In between the two, look out for Catherine and Pierre Breton, one of the larger natural wine producers in the Loire – all their whites are vouvrays, including the delicious La Dilettante Brut sparkling (£21.85 Vinum, 13%).

In his book Adventures on the Wine Route, Lynch alludes to a good vouvray’s kinship with white burgundy; the aroma, he says, has more in common with meursault (a chardonnay) than Californian chenin. But some chenins from farther afield also have about them a whiff of buttery burgundy – Stellenbosch producer Villiera’s Barrel-Fermented Chenin Blanc, say, is the perfect accompaniment to roast chicken, creamy pasta or cheese. If you want a South African chenin under £20, you’re spoilt for choice at most major retailers, but at that price point the approachably punk wines from Swartland producer Testalonga are the best you’ll get: their Baby Bandito Keep on Punching 2024 is round, zippy and crowd-pleasing in the best way. It might even propel you to go hat shopping.

Five chenin blancs that are well worth a punt

Reyneke Organic Chenin Blanc £12 Waitrose, 13.5%. Full, crisp and peachy, this is a great everyday aperitif for summer.

Testalonga Baby Bandito Keep on Punching £18.95 Buon Vino, 12%. Fresh, peachy and guaranteed to please any crowd.

Villiera Barrel-Fermented Chenin Blanc £20 Ocado, 14.5%. An aromatic, buttery beauty from Stellenbosch.

Berceau des Fees Savennières 2023 £25 Vinatis, 11.5%. An elegant and perfumed low-intervention savennières.

Le Clos de la Meslerie Vouvray Sec 2023 £42 Dynamic Vines, 13.5%. The stairway to heaven begins here.





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The Tempest review – Kenneth Branagh returns to the RSC in this enchanting production | Kenneth Branagh

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Kenneth Branagh is said to have played 35 Shakespearean parts, albeit back in the day. Seeing him speaking in verse these days is something of an event, all the more so when he is making a return to the Royal Shakespeare Company after more than 30 years to take on, for the first time, Shakespeare’s magician, deposed duke and tyrant occupier. Even the king turned up for it some days ago.

Branagh’s Prospero initially follows in the vein of his fast and feverish King Lear, performed in the West End in 2023. He seems to be speeding through the part rather than inhabiting it, too puckish, almost larky, rather underwhelming. It is the show itself that casts its spell through its enchanting sights, sounds and ensemble accomplishments. Richard Eyre, directing his first Shakespeare play at Stratford, does a stupendous job of bringing an overt sense of performance to the production.

Photograph: Johan Persson
Photograph: Johan Persson

He casts Prospero as a conductor on this isle of sweet airs and noise and he conjures the opening storm from a music stand, orchestrating the action as a back-screen opens up to a magnificent vista of gurgling waves, the circular stage listing, the sound of drums, lightning and thunder creating a very theatrical sense of crash, bang and wallop. Prospero is bringing on a storm that will return his usurping brother to him, for vengeance, but he is also hailing in a polished cabaret or circus act, of which he is master.

Everyone plays their part: Ariel (Amara Okereke) looks like a trapeze artist, acrobatically afloat, a delight for her beautiful movement and song, and there is unspoken love in the chemistry between Prospero and Ariel. The scenes featuring Caliban (Ashley Zhangazha), Stephano (Guy Henry) and Trinculo (Keir Charles) as they plot rebellion, wink toward a music hall comedy sketch. It seems significant that Caliban is not monstrous or grotesque in any way but resembles an indentured slave. He is earnest, noble, putting on his comic act but tragic beneath.

Sound and music is central as a whole, with bongo drums both energising and symbolic of a land that Prospero has colonised whose indigenous sounds are insuppressible. Shakespeare’s songs sound new here, with a near-rap by Caliban and Prospero occasionally speaking in singsong lilts. Bob Crowley’s set design is enthralling too, almost Disney-like with its sparkly, floaty elements, casting spells over us with its visual thrills and beautifully choreographed movement. The back-screen is vital for conjuring Prospero’s illusions and there is something of the children’s magic show to it all.

Branagh’s diction bears clarity and ease, as ever, but not quite enough depth. He is vital and bounds around, a possessive dad as he stalks the sides of the stage while his daughter Miranda (Ruby Stokes) flirts with Ferdinand (Fred Woodley Evans), but far from John Gielgud’s elderman (in Peter Greenaway’s film). His levity is alluring but seems lightweight. So does the showmanship of the production in the first half, to some degree, busy in dazzling us with its magic rather than mining to the core of this profoundest of plays.

But as Branagh slows down too, the production takes on deeper, more plaintive shades and you feel the emotional hit when Prospero declares that the rarer action is in virtue than in vengeance. Caliban is wordlessly habilitated back into his rightful role as ruler of the island in this ending and it gives power to Prospero’s transformation. You feel the magician becoming more human and humane; abjuring tyranny as liberating for the oppressor as it is for the oppressed.



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Labour has 'no coherent plan' for country, says Blair

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The ex-Labour PM says Sir Keir Starmer’s government is in the “wrong position” ahead of the next election.



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Tony Blair tells Starmer and rivals: abandon net zero and move closer to Trump | Labour

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Tony Blair has accused Keir Starmer, Andy Burnham and Wes Streeting of putting Labour’s future at risk by abandoning the centre ground, warning that the party’s “almost infinite capacity for self-delusion” means it is likely to lose the next election.

In a scathing 5,700-word attack on the prime minister and his would-be successors published on Tuesday night, Blair argued for the government to crack down on welfare spending, abandon restrictions on oil and gas and smooth relations with Donald Trump.

His essay, a highly unusual intervention for a past Labour prime minister, is likely to draw a furious response from across the party, where Blair’s legacy remains highly contentious. On Tuesday, one senior source accused him of abandoning social democratic values to embrace an agenda that had “no answers”.

But Blair also suggested it was a mistake for others in the party to seek to remove Starmer as prime minister, saying: “The Labour party is playing with fire; or, more accurately with its future, and that of the country. Whether there is a leadership change or not is irrelevant if it doesn’t start with a policy debate.

“Trying to force the prime minister out, before we know what policy direction we’re bringing in, is not a serious way of conducting ourselves.”

Blair attacked Burnham and his fellow leadership contender Wes Streeting – who has often been cast as a Blairite but rejects the label – for ideas on tax and spending that he said had been rejected by serious governments. He said it was a “perennial delusion” that the party should move left while losing seats to the right, saying it was “dangerous to do it in government”.

While Labour is likely to lose many more seats to Reform than the Greens in a general election, most analysts of the recent local elections suggest that it loses four times as many votes to the Greens, splitting the left-leaning vote.

Blair also criticised Starmer’s approach to the US war with Iran, despite most polls showing it was popular with the public – saying it was vital the US could trust the UK as an ally. He criticised cuts to international aid, which he said had weakened Britain’s influence, and said Starmer was trying to negotiate with Europe from a position of weakness.

The former prime minister named Angela Rayner’s employment rights bill and Ed Miliband’s net zero drive as key mistakes, alongside the phasing out of oil and gas licenses and Rachel Reeves’ decision to raise the minimum wage and national insurance and change the status of non-doms. All of the policies had given “headwinds, not tailwinds to British business”, he wrote.

The government should now remove all obstacles to AI-related business growths, radically increase planning reform, reverse its North Sea energy policy and make fundamental changes to the welfare system, Blair argued, as well as seeking to repair relations with Trump’s White House.

“Without an agenda of this nature, radical but sensible, Britain will continue its long slide towards relegation from the Premier League of Nations,” he said.

Blair called for closer ties with Trump’s White House. Photograph: Yoan Valat/Reuters

A senior Labour source said: “Tony has evidently not been near a working-class Brit for decades but he’s clearly been away with the tech bro fantasists.

“Reheated Blairism has absolutely no answers to our national decline since the vultures were let loose. There was a time he would have stood up for social democratic values, but this shows just how far he has fallen.”

Blair said Starmer’s key issue was not a lack of charisma or communication but of grounding. “This is the defining problem of the government. Too often they seem to totter in the breeze. To lack ballast.”

The party should have ditched promises like the workers rights reforms and commitments on oil and gas licenses in the early days of government, blaming the fiscal situation, Blair said, arguing that it would have won the goodwill of business. He also attacked the ending of the two child limit, saying it was clear that welfare was in need of major reform.

But he was deeply critical of solutions proffered by those who seek to replace Starmer, saying Streeting’s modernising wing was “appearing to advocate rejoining the EU” as well as changes to capital gains that had been “rejected by successive governments for good reason”.

And he criticised Burnham’s alternative to adopt the “far-left critique about nothing good coming out of the last ‘40 years’ of ‘neoliberalism’, which presumably includes the last Labour government”.

Blair and Starmer in 2023. The former PM said Labour won in 2024 out of distaste for the Conservative government rather than on its own offer. Photograph: Stefan Rousseau/PA

Blair said it had been clear since the election that Starmer had been elected because of the distaste for the Conservative government, rather than on Labour’s offer, and that the party had no guiding vision from which its policies and politics could flow.

“The government is governing from an essentially traditional Labour ‘soft left’ position, parked firmly in the party’s comfort zone,” he said. “The government’s principal problem isn’t Keir’s personality. Or a failure to communicate ‘our achievements’. Or a need to assert more strongly Labour’s ‘values’.

“It is because we don’t have a worked-out, coherent plan for the country in a fast-changing world and are in the wrong political position from which we can devise one and win a second term.”

Blair – who was one of the strongest voices opposed to Brexit and a key player in calls for a new referendum – said he now believed that seeking to negotiate a new deal with Europe was nonsensical when Britain was in a weak position.

“Just as Brexit was never the answer to Britain’s challenges back in 2016, reversing it isn’t the answer to the country’s far worse situation in 2026.” He said any serious negotiation should only start when Britain is “at the farthest end of European competitiveness. At present, we’re not.”

He said that the UK’s position was immeasurably weaker than two decades ago – when the UK was a key US ally, a leader in Europe and a major player in the developing world because of international aid. “All are now in doubt or gone,” he said.

“What’s done is done. None of these things can simply be reversed. But to repair our standing, all require leadership and commitment.”



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