Berwick continued their superb home form with a 55-35 win over Championship leaders Peterborough at Shielfield Park.

Scott Nicholls scored 17 points from six rides for Panthers but Bandits proved far more solid as they became the first team to prevent Panthers from taking league points on their travels.

Reserve Nikolaj Busk Jakobsen scored 12 points with Theo Pijper, Aaron Summers and Kevin Doolan all contributing.

Berwick manager Scott Courtney said: “We want the play-offs and the guys are going to fight all the way.”

Courtney said it was a great match with some excellent racing from all the riders.

He praised Peterborough No 1 Scott Nicholls and Panthers boss Carl Johnson admitted they were beaten by the better side on the night.

He added: “Overall it’s one bad meeting but we’re not about to panic. We move on to Newcastle and look for points there.”

Meanwhile, overseas Great Britain collected the bronze medal in the FIM World under-21 Team Cup Final in Outrup.

Former Edinburgh Monarchs and Glasgow Tigers rider Dan Bewley scored 13 points to help Neil Vatcher’s side to 29 in total.

That placed them third behind winners Poland, who scored 46points, and second-placed Denmark with 42 points.

Zach Wajtknecht, Ellis Perks, Nathan Greaves and reserve Connor Mountain all contributed to the total which saw Britain finish clear of fourth-placed Sweden and secure a well-deserved rostrum appearance.

Dunfermline Athletic 0 Heart of Midlothian 1
Betfred Cup – Saturday 18th August 2018 – East End Park

Hearts progressed to the last eight of the Betfred Cup after a narrow win over Championship side Dunfermline Athletic at East End Park on Saturday.

A fine strike from Olly Lee eleven minutes from the end was enough to ensure Craig Levein’s men avenged last season’s elimination from this competition when the Pars progressed at the Jambos’ expense.

Aaron Hughes replaced long-term injury victim Christophe Berra while Steven MacLean was preferred up front to last week’s match winner against Celtic, Kyle Lafferty.

Hearts were made to work hard for their win with the home side edging first half proceedings. Tynecastle keeper ‘Bobby’ Zlamal was the hero this week with three brilliant saves. However, it was Olly Lee who scored with a low drive as the game reached its conclusion to the delight of the travelling Maroon Army, of whom there were more than 4,500.

Hearts will now take their place in Sunday’s draw for the quarter-finals.

Dunfermline: Robinson, Craigen, J. Longridge, Devine, Durnan, Ashcroft, Williamson, Vincent, El Bakhtaoui, L. Longridge, Hippolyte.

Hearts: Zlamal, M. Smith, Souttar, Haring, Lee, Naismith, Hughes (Bozanic, 46′), Garuccio, MacLean, Ikpeazu (Lafferty, 69′), Mulraney (Morrison, 77′).

Referee: Bobby Madden

Attendance: 8,601

Top man: ‘Bobby’ Zlamal

Just what do Fringe performers do with the little one/s when they are in Edinburgh for a couple of weeks? How do the manage?

They just take them along and they just manage! Like normal people!

The hours might be different to your typical ’employee with child’, but seemingly, they get used to all the coming and going and, with help from friends and family, they just get on with it.

Appearing outside the Udderbelly Cow in George Square for one of the more unusual photo calls were –

China Fish – ‘Queen C*nt’
Fiona Pearce and Hannah Croft – ‘Croft and Pearce – Double Take’
Damian Clark – Damian Clark – Extra Show’
Augustin – ‘Gruffalo’
Violet the Udderbelly Cow

Details of all the shows, along with ticket availability and prices can be found here

Seventeen people had to be evacuated after a fire broke out at a ground-floor flat in Restalrig Crescent in the early hours of this morning.

Six were given oxygen at the scene, before three of those were taken to the Edinburgh Royal Infirmary.

A spokeswoman for the Scottish Fire and Rescue Service said: “We were alerted at 3.19am to a fire in a ground-floor flat at Restalrig Crescent in Edinburgh.

“Three appliances and a height appliance extinguished the fire using a high-power hose reel.

“Seventeen residents were evacuated and six casualties were given oxygen.

“Of those six, three were transferred to Edinburgh Royal Infirmary.”

Hibs have announced the signing of Australian international Mark Milligan on a two-year deal, subject to securing a work permit.

The midfielder, who can also operate in the centre of defence, has 71 caps for the Australian national squad and played in all three games at the recent FIFA World Cup in Russia.

He was most recently at Saudi Arabian side Al-Ahli, who he joined from Australian side Melbourne Victory.

Earlier in his career he was linked to Blackburn Rovers, Manchester City and Arsenal in the English Premiership as well as Lens, Porto, and Werder Bremnen.

Milligan will provide cover for Marvin Bartley who was injured against Molde and is likely to be out for several weeks.

Milligan told the club website: “I am delighted to have joined Hibernian.

“I know it’s a big club with an exciting young squad, and I hope to be able to add to that with my experience.

“Jamie (Maclaren) obviously did well here last year and gave Hibs a bit of a profile back home – everyone there is pretty familiar with the Scottish game and I’m excited to now be a part of that.

“The team have had a good start to the season with the run in Europe and I’m looking forward to joining up with the squad and getting going.”

Meanwhile, the club have now secured a work permit for Thomas Agyepong, who will be available for selection this weekend.

…And This Is My Friend Mr Laurel
Pleasance Upstairs 1130 am

THERE is a magic when an actor is able to transform his face into the character he plays.

When Jeffrey Holland’s Stan Laurel speaks to an invisible Oliver “Babe” Hardy on his sickbed, he is really Cumbrian lad, Stanley Jefferson but when the play cuts away to short scenes, the veteran actor’s whole visage is that of the famous black and white movie star that we love and adore.

Jeffrey Holland is also able to deliver the frankly surreal lines that Laurel delivered. They are such good lines that they could be ruined in the wrong hands. One of this reviewers favourites is “A horse may be drawn to water but a pencil must be led” Holland delivers it beautifully.

This is a poignant play with Laurel realising that they will never perform again and for every reflection on triumphs, it is regrets and frustrations that cloud his thoughts.

It is a touching, thoughtful performance by a comedian who clearly has great respect for the subject.

The script also manages to include little enlightening biographical references such as the derivation of Hardy’s nickname “Babe”.

The 1130am makes this show a perfect early kick off if you are having a marathon Fringe day. Light but layered, yes poignant but you still left the auditorium with a smile on your face.

And you know, it still is a long distance from Phoenix Arizona!

Chris Difford and Boo Hewerdine at Assembly Checkpoint
1530 hrs

THE audience were all of a certain age as they queued up outside Assembly on Bristo Square. All Squeeze fans and all keen to see what Chris Difford had to play and say.

They were not disappointed as he played many of their favourite songs interspersed with great anecdotes from his days in one of Britain’s much loved bands.

The stories feature in his book “Some Fantastic Place: named after one of Squeeze’s greatest songs. Even that has a very poignant back story.

Accompanied by musician Boo Hewerdine, that a number will remember from the very fine The Bible, this is an hour spent in the company of a man who wrote many great songs but appears to have ended up skint. Chris Difford does provide clues, for example, he introduces Cool For Cats as a song that “paid for his first divorce”.

There is also the reference to being “26 years sober’ and as much as you loved the stories of Squeeze’s rise, there is more than a morbid fascination as why his career seems to be reflected on by Difford himself as one of relative failure.

Perhaps you look at his lyrics and think that he was and is one of England’s greatest ever lyricists (Funny how the missus always looks the bleeding’ same) and we feel he doesn’t get the credit he deserves. He may look at people like Tim Rice and feel he doesn’t get the filthy lucre he deserves.

A wonderful, spellbinding afternoon spent in Some Fantastic Place.

Drip Feed
The Bubble: George Square
1425 hrs

IT must have seemed that the gods were against Karen Cogan’s one woman performance in Drip Feed.

The show was delayed due to a fire alarm, then a downpour, then in the middle of a scene, disco lights that were draped around her shoulders, blew, causing the technicians to halt the show. Sarah improvised beautifully and engaged with the audience in a seamless fashion.

Brenda’s story is one where despite being a fixture of the social life in Cork, it would appear to be a dissolute life and unstable. This is best illustrated by her dissolving relationship.

The set is a broken down room and all stories seem to lead to broken lives.

Karen Cogan keeps us fascinated throughout the hour as she draws the audience in. There is plenty of humour in her monologue as well as bathos and ridicule.

This was a thoughtful hour that we recommend. Just try and see it in calmer waters.

Police are appealing for information after two Ford Transit vans were stolen from Eliburn Industrial Park on Appleton Parkway Livingston earlier this week.

The first theft took place around 10.25pm on Monday 13th August, when a van with the livery ‘British Red Cross’ and registration KS63 CKX was stolen.

The second theft took place around 10pm on Tuesday 14th August, when a van with blue ‘DPH’ livery and the registration SA14 OYP was stolen.

Officers are currently treating these incidents as linked and are urging anyone who may be able to help to come forward.

PC Marc Lunn of West Lothian’s Community Investigation Unit said: “These thefts have denied a charity and a local business of resources and we’re asking for the public’s help as part of our efforts to return these vehicles to their rightful owners.

“Anyone who may have seen suspicious behaviour in the area, or who may know the whereabouts of the vans, is urged to contact either us or report this anonymously to Crimestoppers as soon as possible.

“We’d urge van owners to consider investing in a steering lock, or try to block your vehicle in on an evening so it’s more difficult to move if someone is able to gain entry to this.

“Remain vigilant and contact Police Scotland on 101 if you see any suspicious behaviour, always dialling 999 if you see a crime in progress.”

Those with information can contact West Lothian’s Community Investigation Unit via 101, quoting incident number 0783 of 14th August for the British Red Cross van theft, or 1096 of 15th August for the theft of the van with ‘DPH’ livery.

Alternatively, an anonymous report can be made to the charity Crimestoppers on 0800 555 111.

Compelling and raw, the National Youth Theatre’s production of The Reluctant Fundamentalist, asks of its audience more than to simply observe.

Set just before the events of 9/11, we follow the story of Changez to see how his identity has been shaped in different ways. We are committed to thinking about how we see difference and how we approach others.  Our treatment of ethnic minorities is questioned as we are forced to face the reality of the prejudices they face. Through learning of the story that is set before us, we are invited to ask ‘who have you loved?’ rather than ‘where are you from?’

Immersion is one aspect of the performance which helps it to have such an influence. The audience are a part of the story as much as they are witness to it. Between America and Pakistan, we are transported easily. The characters are able to create around them boardrooms, bustling streets and leaf covered pavements and parks. The use of space is highly clever, creating places out of sound and light. The representation of space as transitory is meaningful in itself.

The piece uses characterisation as a way to show how identity is often decided by others. By using the same characters for a range of positions, identity is shown as a force that is liable to change. The performance is emotive and yet commanding; all are able to hold the room. Their ability to convey vulnerability and power is important as a juxtaposition to each other, illustrating how humans are composite beings.

In a time where politics is often about difference and where words are used to exclude, this play tries to show how these are constructed barriers. They demonstrate instead, how love can transcend all. The fact that we are human beings in the same struggle, it argues, is the community that we are all part of.  It is a powerful experience and a welcome antidote to an emergence of a politics of fear and hatred. This shows comes highly recommended; thoughtful and thought-provoking.

Summerhall, until 26th.

John Gay’s original 18th century performance of The Beggar’s Opera is made wilder and more raucous to fit with 21st century changed sensibilities in this new stage production  from Paris’s Théâtre des Bouffes du Nord directed by Robert Carsen. Playing with the expectations of the audience, it seems always one step ahead as it pushes boundaries and undermines institutions with its wit.

The show does not escape the political consciousness that formed the basis of Gay’s production. Instead, it tackles different heated crises of our time that have international resonance and in a way that strikes at the comfort of its audience. Initially we are faced with the homelessness crisis; one that is difficult to escape from on the streets. This is a play that directly challenges blindness to social issues by making those who have power over the stage, operatic beggars and prostitutes from the East End of London.

Its hilarity and at times, completely ludicrous nature plays into a larger social commentary.

However, the characterisation of women in the play is not renewed with the same vigour. Women are stripped of their agency, oversexualised and undermined. It is clear that this was a conscious decision to remain close to the original script; the female characters satisfy all the stereotypes proposed about women in the 18th century.

Yet, the play does pack a punch in other areas. As a play with a socialist core, it does not fail to comment on the government of today. Sneaky jabs at the Brexit negotiations and at Theresa May’s leadership remind the audience, from a largely international perspective, of our own modern political quandaries.

Members of the justice system are portrayed as revelling in their corruption. It would be a serious point if the chief of police and the central lawyer in the play were not so unashamedly honest about it. As was intended, this is a satire on all of society. Here the police have so little morality, there seems very little to separate them from those they jail. The police themselves are so entrenched in the criminal world. Their drug habits also leave a lot to be desired; haunting images of the police force snorting cocaine on a stroller are hard to forget.

Certainly, this is an uproarious and energised play. One in which the audience are laughing along and the actors perform with a twinkle in their eyes.

In the apparent chaos, it is clear that the production harbours a brilliance which is untameable but definitely refreshing.

The Beggar’s Opera runs till 19 August. Tickets here.

At Underbelly there are several performers who juggle appearing in the Fringe and being a parent.

This morning the Underbelly Babies were brought to Underbelly’s purple cow Violet for a photo call.  It is not always the easiest to juggle any job when children are very young, but this lot all look pretty happy!

Police are appealing for witnesses following a racially motivated assault and robbery which took place around 9.20pm on Wednesday 15th August in Craigour Drive.

A 39-year-old man received injuries to his face and hand and a 41-year-old man a hand injury. The suspects also made comments that the victims interpreted as racist during the attack.

Two male suspects were seen running in the direction of Craigour Terrace. The first is described as white, of medium build, between 25 and 30-years-old, 5ft 8ins tall with short brown hair and a brown beard. He was wearing a white T-shit and grey joggers.

The second is described as white, of medium build, between 25 and 30-years old, 5ft 8ins tall and wearing a white T-shirt.

Detective Chief Inspector Paul Grainger of Edinburgh CID said “This was a racially motivated assault and robbery that left two men with injuries.

“Our inquiries are ongoing and we would appeal to anyone who may have witnessed the incident or seen the suspects in the area to contact police immediately.

Anyone who has information should contact Edinburgh CID via 101 quoting incident number 3965 of Wednesday 15th August or call the charity Crimestoppers anonymously on 0800 555 111.”

This is a must see. Even the lovely photos that we have here cannot possibly bring you the size, the majesty and the detail of the artworks which Raqib Shaw exhibits in Edinburgh until 28 October 2018.

It is also part of Edinburgh Art Festival which runs until 27 August 2018. Look out for news on Twitter by searching for the hashtag #EdArtFest

This is a free exhibition, although you will be hard pressed not to spend some time in the café (my favourite is the ginger oat slice which I cannot resist!) The artist is Indian. He was born in Calcutta in 1974 and was brought up in Kashmir. It is probably this in his early years which has given him a love of colour, and these works are full of bright colours. The treatment is enamel, but even this description cannot show the two dimensional relief which Shaw works in.

His family are successful merchants trading in rugs, shawls, jewels and antiques both in India and further afield. Shaw worked there from a young age but then travelled to London at the age of 18 where he became entranced by the art and in particular Hans Holbein the Younger’s The Ambassadors created in 1533. Five years afterwards Shaw returned to London to attend Central Saint Martin’s College of Art and Design when the National Gallery became his permanent place of study. The detail which he spotted in works by Botticelli and Bronzino became a mainstay in his own art.

By the time Shaw enrolled on his Master’s course at Saint Martins in 2001, he had already attracted considerable attention. Soon he was widely exhibited across the globe, with exhibitions at some of the world’s leading art institutions, among them London’s Tate Britain (2006) and New York’s Metropolitan Museum of Art (2008). He has lived and worked in London since he first moved, and now paints from a former sausage factory in south London, which he has converted into a multi-storied, floral-laden home and artist’s studio.

His method is to make preparatory drawings and tracings of the painting he will create. He then transfers the composition on to wooden panels and makes a design with acrylic liner. This leaves a slightly raised line within which he paints carefully one drip at a time with a mixture of Hammerite and enamel paint for outdoors and some household gloss paints. He uses really fine needle syringes and a porcupine quill to move the paint around as he wished. He sometimes adds rhinestones and gems.

Raqib Shaw: Reinventing the Old Masters

The exhibition in Edinburgh features on his reworking of Old Master paintings. In February last year, Shaw visited Scotland and the Scottish National Gallery for the very first time, to view Paton’s fairy-tale masterpiece The Quarrel of Oberon and Titania, 1849. Reproductions of Paton’s famous work had, the year previous, inspired Shaw to paint Self-portrait as the Opium Smoker (A Midsummer Night’s Dream). Now those two works will be displayed alongside each other. Both paintings are sprawling, resplendent works of art which elaborately draw upon characters in William Shakespeare’s (1564-1616) comedy A Midsummer Night’s Dream (1595-96). Oberon and Titania, King and Queen of the Fairies, feature in Paton’s painting, whereas in Shaw’s painting is Nick Bottom, an actor turned into a donkey by a fairy. It is a self-portrait in which Shaw has portrayed himself as the donkey, dressed in a richly embroidered kimono and puffing on an opium pipe whilst surrounded by a surreal, hallucinogenic world featuring fairies akin to those in Paton’s painting.

During the visit to see the Paton artwork, Shaw also took the opportunity to view another artwork he had long admired but had never seen in person, Cranach’s An Allegory of Melancholy, which is based on Albrecht Dürer’s (1471-1528) celebrated engraving Melancholia, 1514. Unlike Dürer’s figure, who some argue represents brooding genius, the seated woman in Cranach’s version appears to be enchanted by evil and the cloud in the top left represents the Witches Sabbath and devil worship.

Shaw’s version – identical in size to Cranach’s – sees Shaw himself replace the woman. A Kashmiri landscape is substituted for Cranach’s Saxon hills and Cranach’s cavorting infants have been displaced by a bubble showing a room in his house which was recently damaged by fire, thus turning the painting into a very personal Allegory of Melancholia of his own. The painting was completed just a few weeks ago and is shown here for the first time.

Simon Groom, Director of the Scottish National Gallery of Modern Art, said: “We are thrilled to be showing Raqib Shaw’s work in Scotland for the first time. The size, complexity, technical accomplishment and audacity of his work are something to behold – some of the pictures have, not surprisingly, taken years to paint. They are absolute visions of delight and awe, and I defy anyone not to lose themselves in the works.”

There are two small dogs which appear in each of his own works, and it is fun to spot them among the intricate and detailed works.

Raqib Shaw: Reinventing the Old Masters will be at the Scottish National Gallery of Modern Art from 19 May until 28 October 2018.

Paloma Faith the English singer and songwriter rocked Edinburgh Summer Sessions last night.

Faith took her audience on a journey through her career, performing classics such as ‘Only Love Can Hurt Like This’, ‘Crybaby’ and ‘Picking Up The Pieces’.

There are two shows left in the Summer Sessions series. Kasabian will play to a sell-out crowd this evening and Brian Wilson will play tomorrow Sunday in the final show.

A few tickets are left here  www.smmrsessions.com

‘Having a learning disability is no barrier to creating theatre that is thought provoking, enjoyable and accessible to everyone’ (Susan Wallin MBE, Artistic Director, Side by Side Theatre)

In William Shakespeare’s As You Like It dukes, courtiers and country folk run around in the Forest of Arden, falling in and out of love and trying to find one another (or avoid one another), until they eventually sort themselves out. There’s quite a lot of gender-bending, even by Will S’s standards, and the forest is seen as a magical, mystical place, an idealised version of nature where everything is better than it was back in town.

In Side By Side Theatre Stourbridge’s wonderful As We Like It, time has moved on – to 1967 and the Summer of Love, when rules were broken, personal happiness was paramount and, as Timothy Leary famously said, everyone wanted to turn on, tune in and drop out. And where better to do all that than in a leafy woodland glade, complete with trees made out of coat stands

As You Like It includes many of Shakespeare’s most famous speeches, and more songs than any other Shakespeare play – which is handy for this cast, who sing and dance their socks off with gusto. In place of Under the Greenwood Tree and It was a Lover and his Lass the 60s scene is set by everything from Friendship to Smile an Everlasting Smile, Good Day Sunshine and a gloriously uplifting rendition of The Rhythm of Life.

Side by Side Theatre Stourbridge is a special theatre company that gives learning disabled actors the opportunity to develop their skills in the performing arts. The company was founded in 1997 by Susan Wallin, who remains its artistic director today. The cast is made up of actors with a wide range of learning disabilities, who take on the responsibility of performance without any additional support. This is their fourth re-imagining of a Shakespeare play as part of the Royal Shakespeare Company’s Open Stages Project.

But if you think learning difficulties mean substandard productions, you’re so wrong; As We Like It is well acted, hugely entertaining, and very professional. These actors have memorised a complex script and thrown themselves into performing it with skill and enthusiasm. Unlike some amateur thespians (including a few I’ve seen at this year’s Fringe), they have few inhibitions, never look embarrassed, and share their infectious joie de vivre throughout.

Several clever ideas are used in this play to move the story forward. As the first scene opens, a newspaper vendor shouts out the headlines (‘Duke flees to forest with hippies’), so we soon know that things are not going too well at the court. Later the same device brings us up to date with the forthcoming wrestling match between Orlando (Rosalind’s would-be suitor, played excellently throughout by James Emtage, who brings great sensitivity to the role – and also has a fabulous voice for sixties’ style singing) and Charlie the Choker (Ben Rees). From the bowler-hatted and besuited fans at the match to the flower power hippies in the forest, costumes are superb; in the commune in particular you would be forgiven for thinking you’d stumbled into Woodstock or an early Glastonbury.

Once Rosalind, her cousin Celia, and her fool Touchstone have fled the palace for the forest, things become more anarchic by the minute. Suzie Schwartz as Rosalind is word-perfect at all times, despite having more to say than virtually anyone else, and Sarah Field as Celia – surely one of the shiniest stars in this talented line-up – is a born actress. When Celia is cross, everyone knows it – her facial expressions and hand gestures speak (very funny) volumes. Her furious reaction when her father tells her she can no longer be friends with Rosalind – ‘But! BUT!!’ is full of frustration and defiance. She’s not going to put up with any nonsense, as is shown again later when she gives Orlando his marching orders.

Once everyone is safely in the forest, the real fun begins. And as Rosalind’s exiled father – now transformed into Big Daddy – says ‘Despite the cold weather we are free to be ourselves here’. The courtiers are free from the court, and the actors are free from preconceived ideas about their abilities. As the Duke/Big Daddy (also the newspaper vendor) Chris Male is brilliant; he inhabits the character of the charismatic hippy leader so perfectly that when his followers dance round him in The Rhythm of Life we feel we could be back in a 1967 production of Hair.

Of course life is really no easier in the countryside than in the town.  The complicated sub-plot involving the tangled affairs of Silvus (well played by David Atkins) Phoebe, Audrey (Amanda Hill, another actor whose facial expressions convey so much) and William shows us that wherever we are, love is never easy. Some people end up with what they want, some have to compromise. The mournful Jacquis (the versatile Ben Rees again) delivers Shakespeare’s famous ‘All the world’s a stage’ speech with real insight and emotion, and just when we are all descending into the gloom, the melancholy is skilfully cut by the lone female voice of Claire Atwood singing Always Look on the Bright Side of Life.

As We Like It is a great production, and one that represents everything that the Fringe is supposed to be about; open access for all, experimentation, freedom, and the idea of performing for the sheer fun of it. Shakespeare’s plays were originally staged for rowdy crowds in the Globe Theatre, but are now so often seen as something highbrow, intellectual and only for the chosen few; Side By Side sweep away our preconceptions and reclaim Shakespeare for us all.

As We Like It is at Paradise in Augustines, George IV Bridge (Venue 152) at 1.20pm until Saturday 18 August. Tickets are available from the Fringe Box Office and online here.

Side By Side Theatre Stourbridge can be contacted through their website: http://www.sbstcs.org/

Judy Murray OBE will take part in the Edinburgh Kiltwalk next month raising funds for her own charity, the Judy Murray Foundation, which brings tennis to rural and disadvantaged areas in Scotland.

Every pound and penny raised by Judy, and every other participant, will receive a 40% funding boost from The Hunter Foundation, thanks to funds raised at the recent Michelle Obama Dinner.

Kiltwalk CEO Paul Cooney said: “We are thrilled to have Judy taking part in the final Kiltwalk of 2018. It’s fitting that Judy, the matriarch of one of Scotland’s most famous sporting families, is taking part in the Wee Wander, which many families will take part in to raise money for charities and organisations close to their hearts. At just five miles, it’s the shortest of our three routes, so it’s a great opportunity for even 5 year olds to take big steps.”

“If you’ve still not signed up yet, why not? I urge everyone to join Judy and help us ‘smash’ our final walk of 2018.”

Judy said: “I’ll be raising funds for the Judy Murray Foundation at this year’s Edinburgh Kiltwalk. You can come along too and raise money for whatever charity you wish, whilst getting an additional 40% added to the total of anything raised from Sir Tom Hunter. Come on, what are you waiting for? Join in!”

Walkers of all ages can choose to walk one of three distances in the capital, all ending at the home of Scottish Rugby, BT Murrayfield. The marathon-distance Mighty Stride starts at Holyrood Park, while those taking part in the Big Stroll will walk more than 15 miles from Pinkie Playing Fields. Wee Wanderers will begin their journey at the Gypsy Brae Recreational Ground.

Walkers will be fed, watered and entertained throughout the event with Strathmore Water donated by AG Barr, chocolate biscuits from Tunnock’s, shortbread from Walkers and soup from the Scottish Soup Company.

The Red Hot Chilli Pipers will provide a soundtrack to walkers’ celebrations at the Kiltwalk village at BT Murrayfield. To sign up for the Edinburgh Royal Bank of Scotland Kiltwalk visit www.thekiltwalk.co.uk

Two more players have committed to Murrayfield Racers squad, both of them travelling considerable distances to be part of the new ice hockey era.

Kirkcaldy-born defenceman Scott Geddes joins after playing for Dundee Tigers in recent seasons and forward Daniel Abercrombie has been recruited from Solway Sharks.

Both men have played under-age international hockey for Scotland and are keen to develop their skills under the coaching of Tony Hand and his coaching team which also includes Martin Cingel and Jock Hay.

Hand, Racers director of hockey, said: “Scott and Daniel both have lots of potential and are desperate to be part of the new Murrayfield Racers set-up.

“They are fully-committed to us and willing to travel to take part in training and games.

“We are delighted that they have come on board, but we are also pleased that so many of the locally-based players are keen to join us in this exciting project.”

SGB Championship: Edinburgh Monarchs 54, Sheffield Tigers 36; Scunthorpe Scorpions 45, Berwick Bandits 45

Edinburgh: Ricky Wells 9, Victor Palovaara 7, Josh Pickering 4, Richie Worrall 15, Eric Riss 13, William Lawson 2, Joel Anderson 4

Sheffield: Mason Campton 2, Todd Kurtz 6, Kasper Andersen 13, Broc Nicol 1, Kyle Howarth 4, Joe Lawlor 0, James Shanes 10

Richie Worrall top scored with a 15-point maximum as Edinburgh Monarchs mauled Sheffield Tigers 54-36 in the SGB Championship.

Captain Eric Riss was next best on 13 points and Ricky Wells scored nine in the comfortable win in which Auchterarder-based William Lawson made his comeback after several seasons on the sidelines and scored two points.

Kasper Andersen scored 13 points and Reserve James Shanes was next best with ten points but the match was effectively over after Heat Nine when a 5-1 from Worrall and Josh Pickering put Monarchs 33-21 ahead.

Elsewhere, Berwick Bandits earned two valuable road points after drawing 45-45 at Scunthorpe Scorpions in the SGB Championship.

Bandits led 38-34 after a 5-1 from Nikolaj Busk Jakobsen and Theo Pijper in Heat 12 but Scorpions stung the visitors with a 5-1 of their own in the next race with ex-Edinburgh Monarchs rider Steve Worrall winning the heat and Josh Auty coming home second.

The sides then drew the next two heats to finish level.

Nikolaj Busk Jakobsen was best for Berwick with 12 points from six outings and Pijper scored ten points with Aaron Summers on nine points.

Auty was top scorer for Scorpions with 14 points and Jake Allen scored 11.

The capital’s new bike hire scheme will cost as little as £1.50 for one journey when it goes live. These prices are in line with other schemes in the UK, and it is hoped that they will attract users.

Operators Serco will launch the scheme with an initial 200 cobalt blue bikes in September. There will be 3 ways to hire a bike using a smartphone app:

• Single trip
• Day subscription
• Annual membership

The scheme’s hire charges will be as follows:

►    £1.50 for a single trip of up to 1 hour

►    £3 for a day subscription, allowing unlimited hires of up to 1 hour each in a 24 hour period

►    For £90 users can sign up for an annual membership, allowing hires of up to 1 hour each for 365 days

For each of the charging options, hirers can enable ‘extended rentals’ to enable trips of more than 1 hour.  Trips of over 1 hour will incur an additional £1 charge for each extra 30 minutes.

Bikes can be returned to any cycle hire point at any time, with the closest available stations shown in the app. The initial three-year concession agreement will deliver a minimum of 500 manual bikes by April 2019.

The cobalt blue Pashley bikes will offer cyclists excellent handling and ride quality, featuring high quality Shimano gears and brakes, comfortable gel saddle, front and rear LED lights, full-length mudguards, puncture resistant tyres that do not compromise ride quality, and a step- through frame allowing ease-of-use for all cyclists regardless of height.

The scheme will also be using technology including the unique hybrid lock provided by Urban Infrastructure Partner (UIP) the operators of cycle hire schemes in Oslo and Bergen.

Serco signed a concession agreement with Transport for Edinburgh (TfE) to introduce and operate the new cycle hire scheme for the City of Edinburgh in May.

Jason Holtom, Serco’s director of leisure services said: “We are introducing high quality bikes in Edinburgh which offer excellent safety, quality and comfort. Once launched in September, users will find the process of hiring simple and straightforward, with hire charges that make the scheme accessible to everyone.”

Transport Convener Councillor Lesley Macinnes said: “Coupled with the Council’s continued investment in improving cycling infrastructure across the city, the new bike hire scheme will help make Edinburgh even more cycle-friendly, boosting health and wellbeing and cutting harmful carbon emissions.

“In line with a bus or tram journey, I’m pleased to see the pricing model is also friendly and I’m looking forward to seeing the new bikes become a familiar sight.”

Transport for Edinburgh Chief Executive George Lowder MBE said: “We’re confident that the quality of the service and product being introduced to Edinburgh’s transport network is one of the best in the world. As Edinburgh’s first cycle hire scheme at scale t will provide a completely new transport offering for people who live, work, study and visit The City. It also allows us to diversify our portfolio of transport modes and meet increasing modern demand for convenient city centre cycling and active travel options.”

Building on the firm’s existing presence in Scotland to provide transport services, Serco already operates the Caledonian Sleeper Rail franchise, Scatsta Airport and NorthLink Ferries. The plansfor the scheme are designed to boost access to local education and employment opportunities as well as health and leisure services, and offer a fun, healthy, affordable, convenient andenvironmentally friendly new transport option for the City.

Dan Lees and Neil Frost take you back to school for a very abridged and extremely silly history lesson.

The Establishment return to Edinburgh with the school day condensed into an hour and what a very silly sixty minutes it is.  If you like Monty Python, Vic & Bob or the Mighty Boosh then you will like this.  If you think two men spouting nonsense at each other and barely managing not to laugh at themselves is a waste of your time then don’t go to see it.  I howled with laughter and am very glad I saw this.

The show starts with the school’s headmaster (Dan Lees in fine form) taking assembly before introducing a supply teacher to a class.  Neil Frost manages to play the part perfectly; he looks and acts like every supply teacher you ever took the mick out of as a child, even down to the leather elbow patches.

While Lees stays in part as the headmaster, Frost plays every other part during the show, including a scarily accurate yet alluring dinner lady to the best dragon you will see this August.  During the show we have a history lesson, drama, games and science and I definitely felt more learned by the time I left.

This is not a participation show but the audience are encouraged to join in.  However, both Frost and Lees can deal with heckles and over enthusiastic crowd members, mending them to their will and the material.

They are both very funny men and if you can take a trip back to the classroom with them in Fool Britannia.

We are the ones who fall between Gen-X and Gen-Y.  Too young to be old and too old to be young. One minute it was all Ebeneezer Goode and now we’re here.  But what is here?  It’s a drawer full of magic youth creams and zero f*cks.  It’s being referred to as ‘Mama Bear’ or ‘Dad’ by workmates.  WTAF?  It’s looking in the mirror at our big pants/Dad bod/belly/kids/life and not knowing who we are anymore.  Is this middle age?  F*ck, it might be! but together we’re a Tribe… Let’s hang!

You don’t have to be in your late thirties/forties or be a parent to enjoy this show, but it helps.  What you do need though is an understanding of UK culture over the last twenty-five years and preferably have lived through them.  You need to know what a Global Hypercolour T-shirt is and how it was such a mind-blowing idea.  Most importantly though you need to know what it’s like to have swapped coming home at dawn instead of having to deal with the bairns at seven in the morning when all you want is your bed.

Boo Dwyer is an engaging tour guide through this change and she’s good company as well.  Of course, it doesn’t hurt that she hands out After Eight mints to start the show and passed me a gin and tonic so she doesn’t drink alone during the show.  This show isn’t just an hour-long reminiscence on how good our youth was, more a brutal assessment of what we’ve swapped.  Dwyer doesn’t want to do it all again, she just wants to do some of it occasionally, but without the queuing, the uncomfortable shoes and taking a chance on her coat getting stolen or thrown up on.

Most of all, Dwyer wants to have fun and invites us to laugh at the ridiculousness of our lives.  Yes we were around when rave came to town but that doesn’t mean we’re ready to slip into pipe-and-slippers land and still want to have fun.  That fun may be more along the lines of having your bestie over for a drink and bitch session but what’s wrong with that.  Hopefully the children will amuse themselves and/or not psychologically damage the babysitter while you at Calling My Tribe.  Either way, you’ll still have fun and will leave having revisited some old memories.

Now, has anyone got any Veras?  Lovely!

Comedian and presenter Robin Clyfan performs his first solo Edinburgh show about grief, growing up and dressing as a massive baby for cash.

In a show that is at times moving, funny and absurd, he explores generational tensions, losing his mother to cancer and recounts tales from some of his ludicrous former jobs.

The Sea Is Big Enough to Take It tells the story of growing up in the shadow of a staunch feminist and activist, who spent her life working in the public sector and how he reconciles that with jobs where earning a living can mean making a fool of yourself for money. Clyfan wonders if he can keep his integrity when some of his corporate work has included pig racing, sending someone into space for a deodorant brand and dancing on stage dressed as a massive baby.

The comedian provides hilarious anecdotes from his childhood, his work and family life interspersed with tender moments with his mother in their final months together. The title of the show comes from a family holiday to the seaside, where Clyfan’s mum screams at the sea (who is big enough to take it) and challenges her son to “do more politically.”

Clyfan is a captivating storyteller and physical performer and his 50-minute set provides moments of enjoyable chaos as he narrates scenes from his life and his dreams. There are rapidfire jokes and moments of moving reflection as we hear the comedian’s mum through an audio clip, recorded as part of BBC Radio 4’s The Listening Project. In a surprise twist during this clip Clyfan manages a costume change (so expect partial nudity) and the energetic finale of the show has the BlundaBus rocking.

In the wrong hands a show with a strand about losing a parent could be mawkish and crass but thanks to Clyfan’s delivery the audience are left moved and amused in equal measure. If you are not visibly moved by the end of the show you may want to check your pulse.

The Sea is Big Enough to Take It is at the Edinburgh Fringe until 26 August (not 22 August) on Bob’s BlundaBus. Buy a ticket in advance (£5/£4) to guarantee entry or Pay What You Want at the venue.

A good review is sought after by nearly all Edinburgh Festival Fringe performers but one Edinburgh Napier student wouldn’t take offence to someone describing her show as rubbish.

Chloe Martina Salvi, a Lighting Design student from Edinburgh Napier’s School of Arts and Creative Industries, is showcasing her unique work throughout this year’s Fringe as part of Gallery 23’s Reuse, Reinvent, Reimagine exhibition.

Running until 28 August, the exhibition aims to highlight some of the world’s most pressing environmental problems, with a large emphasis on waste and humankind’s apparent inability to dispose of it.

Chloe’s piece – Dust – was created as part of her major project at university
and explores ways of looking at discarded matter and waste differently through the use of light.

Gathering a collection of organic and synthetic dust – including waste tyre, Styrofoam, meteorite and pollen – the items are ‘frozen’ within cubes which can be looked at by shining different types of light on the pieces.

The striking cubes come to life when light shines through, allowing the viewer to see the dust and its characteristics in great detail.

For Chloe, her fascination with the connection between light and dust was one of the key drivers behind the project.

She said: “My recent work has revolved around exploring ways of looking at
discarded matter differently through the use of light. Dust and light are often
associated in the ways they shape and reveal each other and I find the
relationship between the two fascinating.

“Dust has inherent poetry within – it is has the characteristic of not being easily controlled, quantified or compartmentalised. I think that is a very interesting way to blur the conceptual and physical boundaries that separate us from discarded matter – and our great efforts to control or ignore it.

“It’s been incredible being able to show work during the Fringe. There are so many people who have travelled from all over the world who are here to enjoy the many cultural events that are taking place – it is a unique and rich
environment.

“I know that Reuse, Reinvent, Reimagine is seeing lots of people attend
which is fantastic. If the exhibition can get people to think differently about
waste and the opportunities that lie within waste then it will have been incredibly worthwhile.

“Waste can be beautiful when used in unique and different ways. The opportunities to use it within art really are endless.”

Reuse, Reinvent, Reimagine runs within Gallery 23 on the city’s Atholl
Crescent until 28 August.

More information here – https://gallery23.org.uk/exhibitions/

Phil nails all today’s major issues in play in his fast not furious, voiced-based show… Master of mirth and energy, skipping from one thing to the next: a wheelbarrow display team, dog bites in Bangkok, being a swineherd.  Relax, yet be riveted, as Phil speedily sums up his year with all things that come to mind, some of which have not happened yet: discovering swans in Norwich, oranges in Guernsey, screaming Stephen Hawking, watching Olympic curling on MDMA, fortified wine-o, Tesla drag-races.

The description of his show only mentions about half the things Phil Kay covers during a breathless hour in Lighter Hour, while also not doing the performance justice.

Kay runs through some of the events in the last year of his life, as well as some longer ago.  As ever, he is a comic genius who is quick on his feet and able to interact with the audience.  Even the downpour Edinburgh enjoyed in the hours before the show I saw was used as material and we learned that laughter can dry your shoes.  Within five minutes he has you on side and fully engaged, that’s if you can stop laughing long enough to draw breath.  At one point asking an audience member the standard “Who are you and where are you from?” he then fires off a quick retort before the man can answer and moving on to something else.

Some people will tell you a Phil Kay show can be eventful and it is, but never in a scary way. Is it safe to interact with him?  Of course?  Go to the toilet mid-set?  Aye, nae worries.  That is if you don’t mind facing a maze Kay and your fellow audience members have quickly arranged while you were out of the room.  Still, if you’re coming to see Kay you know these things might happen, and that is part of the joy.

I was amazed the show was only an hour as it felt a lot longer, but in a good way. I couldn’t believe I had laughed that long and hard for such a short period of time.  The time really did fly and I was happy Phil Kay was the pilot.

Mark Thomas is 54, the NHS is 70, UK national average life expectancy is 84.  If Mark makes it to 84, the NHS will be 100 – what will they each look like?  Based on a series of interviews with leading experts in and on the NHS, and residencies in hospitals and surgeries, and with director Nicolas Kent, Mark uses his own demise to explore the state we’re in.  What’s going wrong in our NHS, how it can go right and what the future might hold for all of us.

I see Mark Thomas every year and he is always very good.  This time though, he has excelled himself.  How does anybody give you an 85 minute show that features a hefty amount of statistics while also making you glad, proud, horrified, hopeful and angry, while leaving you with aching sides from laughing and a desire to improve your own health?

Simple. They have to be very, very good at what they do and on top of their game.  In Check Up: Our NHS at 70, Thomas is both of those things and more.  For my money this is possibly his finest work to date.  At the very least it is in the running against Bravo Figaro! and the fun he had way back when with McDonald’s drive-through service (13′ 38” – the video quality isn’t perfect but you’ll still enjoy it).

Over the course of the show, Thomas reports on his time in three West London hospitals – St Mary’s (which is in Paddington), Hammersmith (East Acton) and Charing Cross (Hammersmith).  The last two’s names and locations give you an idea how ridiculous and surreal the NHS can be at times.  I know these hospitals well, I was born in the first one and my family and friends were treated in all three, so I know well what they’re like.  From experience, they are the same as other NHS hospitals, they’re just busier, more overcrowded and the shops and food outlets rip you off even more.  Thomas’s shifts at the hospitals are not just token, he is there at the sharp end.  He spent time in A&E (where he makes a huge mistake early in), gastric surgery, renal and dementia, seeing at first hand how much time, effort, skill and money goes into treating people.  Thomas also spend two days with a GP and sits in on appointments with 21 patients, with a doctor who manages to treat every one of them as if they are the first person she has seen.

Not only that, he speaks to various experts and manages to interview two previous Health Secretaries.  He explains how the NHS in England waste epic amounts of money, not through inefficiencies but by having to follow government policies of the last twenty years.  While he briefly spends time on the Scottish NHS, he focuses on what he know. Thomas does give our health service some justified praise, highlighting differences that work in our benefit.  However, if he had looked more closely at it he would see the failings we have too.

I cannot praise this show enough.  I had heard Thomas say earlier this year that he was coming to Edinburgh with something special and he was not wrong.  By the time it finished I wanted to hug him to say thank you for covering what the medical staff have to deal with on an hourly basis.  This is a very accomplished piece and it made me want to improve my own health.  That’s especially true knowing far too many ways I might die now thanks to Thomas’ chat with a retired GP discussing what the future holds for a middle-aged man.  At least a Travis Perkins’ scaffold truck shouldn’t be the end of me.

Laughing at Mark Thomas’ material might though but I think that’s a decent way to go.

Police are appealing for witnesses following a serious assault which took place around 9.50pm on Wednesday night in Cardross Road, Broxburn.

A 28-year-old man suffered serious injuries to his neck and was taken to Edinburgh Royal Infirmary for treatment.

Detective Constable Jason Beck of Livingston CID said: “This was a serious attack on a man that resulted in significant injuries to his neck which could have been life threatening.

We are still conducting inquiries to establish the full circumstances and officers are following a positive line of inquiry.

We are eager to speak to anyone who may have witnessed the incident or who has information about who was responsible.

Anyone with information can contact Police Scotland on 101, quoting incident 4064 of the 15th August or contact Crimestoppers anonymously on 0800 555 111.

A LEADING aesthetic nurse is warning patients to “choose wisely” when it comes to picking a practitioner for Botox and dermal filler treatments.

The message comes from Jackie Partridge, co-founder and Clinical Director of Edinburgh’s award-winning Dermal Clinic.

Jackie, who is a strong advocate for safe practice and regulation of the industry, believes that this announcement should encourage patients to seriously consider the qualifications and experience of their practitioner before undertaking any facial augmentation.

She said: “When making a change, even just a minor enhancement, it’s so important that the client understands the process and feels as though they are making the best decision for them.

“They should feel safe in the knowledge that qualified, experienced practitioners are leading their treatment, with results to match their high level of professionalism.

“The ready availability of these treatments – now on the high street – should not discourage clients from being vigilant.

“If carried out incorrectly, results can be uneven or unnatural looking and can sometimes leave lasting issues.

“A good practitioner will carry out a full medical consultation prior to the treatment to discuss any relevant medical history and advise on the best way to achieve your desired results. They should also be fully insured and regulated.”

Jackie’s expertise and influence has seen her work alongside the Scottish Government on the regulation of aesthetic clinics, and lead training days and masterclasses for her industry peers.

Her work has also been recognised with a number of prestigious awards and she is a member of dermatology giant Galderma’s Global Nurse Faculty.

Founded in 2007 by Jackie and her husband Jarrod, Dermal Clinic offers a range of aesthetic and cosmetic treatments in the heart of Morningside in Edinburgh.

The clinic holds the title of being the first establishment to be listed with Healthcare Improvement Scotland, the Scottish regulatory body for independent clinics.

Jackie added: “At Dermal Clinic, we strongly believe in totally safe and regulated practice to produce naturally beautiful results.

“We are given a level of responsibility as practitioners, so we must do all we can to maintain exceptionally high standards.”

Multi-award-winning Dermal Clinic, located on Church Hill Place in Morningside, offers
state-of-the-art cosmetic treatments performed by medically qualified practitioners.

To find out more about Jackie and her team or the treatments available at Dermal
Clinic to make you look better, feel better, please visit: www.dermalclinic.co.uk

Scott Courtney, Berwick Bandits’ team manager, hopes Reserve pair Theo Pijper and Nikolaj Busk Jakobsen remain in fine form.

Pijper collected 11 points against Edinburgh Monarchs, his former club, in last Saturday’s comfortable home league win while Jakobsen scored nine.

Courtney said: “All the guys are up for everything at the moment and we want to stay in the top four.”

That may be tough as Bandits entertain SGB Championship pace-setters Peterborough Panthers on Saturday (7pm).

And former Berwick rider Paul Starke replaces crocked Panthers star Ulrich Ostergaard.

Peterborough boss Carl Johnson said: “We do like to use guests who we’re familiar with and who we know will give 100 per cent to the team.

“That’s why we’ve gone for Paul again. He knows the Berwick track so I’m sure he will do a good job.”

Berwick currently sit fourth in the table mainly as a result of impressive home form as the Bandits have picked up only one point on the road.

Only Workington Comets have managed a win there so far and no other visiting side has taken a point.

Johnson said: “A point from the meeting would be good and that’s what the target will be.

“Hopefully, we can come away with more to keep us as the only side to take points in every away meeting.

“That’s the plan but it doesn’t always work like that. Berwick are a strong side and they’ve done well this season.”

Murrayfield Racers have clinched a sponsorship deal with Lothians-based company, SJS Property Services.

The well-established family owned business will have their logo displayed on their the strips and they will advertise at Murrayfield Ice Rink which welcomes over 250,000 clients every year.

SJS provide fit-out, refurbish, develop, project manage, maintain and provide bespoke joinery manufacturing and flooring.

Their blue-chip client list includes NHS Lothian, The University of Edinburgh, Heriot-Watt University, The House of Bruar, The Royal College of Surgeons, Harvey Nichols, So Stobo and George Watson’s College.

Craig Murie, the company’s managing director, said: “SJS are supporting Racers’ ambitious plans to re-establish the name of Murrayfield Racers to its position amongst the top flight of British ice hockey.

“Our sponsorship will assist the team on the ice but also bolster Racers’ efforts in local schools and in the community to encourage children to become healthier through sport.”

Tony Hand, Racers’ director of hockey said: “With the support of SJS we aim to make our first season one to remember.”