A year ago – just a year ago – the Kennedy Center in Washington DC was a world-class centre for the performing arts. It had a resident opera company, respected artistic teams, and a run of the acclaimed musical Hamilton to look forward to. It had a bipartisan board that upheld the dignity of an organisation that, since it was conceived of in the mid-20th century, had been treated with courtesy and supported by governments of both stripes.

How quickly things unravel. Donald Trump inserted himself as chair of the organisation soon after his 20 January inauguration, dispatched the hugely experienced executive director, and installed his unfortunate loyalist Richard Grenell to run it. This former ambassador to Germany might have wished for better things; at any rate, entirely inexperienced in the arts, he seems utterly out of his depth. Things have unravelled. Artists have departed the centre in droves. Hamilton pulled out. So have audiences. In November, Francesca Zambello, the artistic director of the Washington National Opera, told me that ticket sales had tanked for the opera. Analysis by the Washington Post showed it was the same pattern across the centre.

Every day, Zambello was receiving messages of protest from formerly loyal members of the audience: shredded season brochures stuffed into an envelope and returned; missives saying, among other things, “I’m never setting foot in there until the ‘orange menace’........

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