Popular Levantine inspired restaurant BABA has launched its brand-new summer inspired menu for locals and visitors of the Edinburgh Fringe Festival to indulge in this August.

BABA situated at the west end of Edinburgh’s George Street boasts mezze style dining
in a unique intimate setting that invites guests to escape from the hustle and bustle of the city. With its new summer menu, BABA is set to treat all food lovers in the capital to a host of new flavour combinations.

BABA’s expert team have curated a light, unique menu using fresh, local and seasonal
ingredients. Paired with the vast range of new and refined summer drinks and cocktails, customers will be treated to the beautiful summer flavours of the Levantine when dining at the city centre restaurant.

The menu is continuously inspired by the eastern Mediterranean and the new, seasonal dishes will join a host of flavoursome BABA favourites such as the ever-popular haggis and harissa kibbeh as well as the classic cauliflower fritters with zhug and crème fraîche. New dishes on the ever-popular mezze menu include the Beiruti Burrata (£7.00) which can be enjoyed with BABA’s signature home-baked pitta.

From the grill, new additions include the succulent monkfish with jalapeño yoghurt, grilled potato and olive (£13.00), hand-dived scallops, chermoula, tzatziki and preserved lemon (£14.00) and Iberico pork neck, tomato and cinnamon bamia, saffron, feta and cashew nut (£10.00). For those looking for something sweet, the new menu offers a refreshing frozen raspberry soufflé, preserved lemon granita (£6.00) and fresh and an enticing date sorbet, hibiscus granita, cardamon biscuit (£4.50).

The ornate and beautiful BABA interiors create an intimate yet relaxed ambiance
within the restaurant. The communal, mezze style dining has been a hit amongst Edinburgh locals for a leisurely dinner with friends. A specially-commissioned mural of the ‘host’, Mr Baba, a fictitious character based on a vintage photograph found in a souk in Turkey, provides the backdrop to the bar counter.

Tim Spence, Food and Beverage Manager, said: “At BABA, we are passionate about constantly evolving with new and unique food trends and the change in seasons. With the glorious weather we’ve been enjoying in Edinburgh, our team has created a menu offering guests a lighter, summer-inspired selection of dishes that perfectly compliment the BABA favourites still on offer. We hope to welcome a whole host of locals and tourists into BABA over the exciting Edinburgh fringe period – where they can also enjoy a BABA
cocktail in the afternoon sun at our brand new outdoor seating area.”

The bar interior has been designed by award-winning designers at Goddard Littlefair,
and the PRINCIPAL hotel design team. The bar itself, refurbished with a re-finished, dark-stained, timber bar front and re-used zinc bar top, is replete with the signs of ageing and character from its previous life. The bar ceiling is painted in a rich teal tone, with multiple antique framed mirrors attached to it, reflecting the activity beneath.

The interconnecting spaces within the restaurant pay homage to period elements of the buildings such as the Georgian-era tiling designs infused with Levantine influences such as a vibrant colour scheme, industrial ‘distressed’ design finishes, rugs hanging on the walls, vintage travel posters, and lots of mirrors to refract interesting views.

After a few misfires early on, there was a bit more action today on the grey carpet. Despite a bit of rain, a fair number of attending writers made the long walk ‘down the back’. And much appreciated they were, too.

 REBUS: LONG SHADOWS by Ian Rankin

Adapted by Rona Munro

King’s Theatre Edinburgh
Monday 8 to Saturday 13 October 2018

This new story exploding on to a home territory stage features crock ‘n roll Oxford Bar-fly shamus, John Rebus, played by Charles Lawson with Cathy Tyson as Siobhan and John Stahl as Big Ger Cafferty. Rebus would often agree with The Stones that ‘You Can’t Always Get What You Want,’ but canny Director, Roxana Silbert, driving playwright Rona Munro’s can of worms script, leaves no stone unturned in delivering a crackling case Rebus could serious do with out.

Rebus is retired but the shadows of his former life stalk him through the streets of Edinburgh. Single-malt self-medication once helped but now he’s denying himself that anaesthetic pleasure. Now the daughter of a murder victim has appeared outside his flat – he’s back on the case and off the wagon. 

Rebus will need help from his ex-colleagues but one of them is already looking for him. DI Siobhan Clarke was Rebus’ greatest ally on the force but is worried that his past actions may stop them finally convicting a dangerous killer. Soon Rebus is caught between two cases and can only turn to one person to help him – the man he spent his career trying to arrest.

http://capitaltheatres.com/rebus

Abandoman
Underbelly
2130 hrs

IRISH comedy rapper Abandoman played to a packed audience at the Assembly Underbelly in George Square.

The audience was absolutely up for this act and played their part in creating a great atmosphere however it was the skill and talent of Abandoman who made this a success.

The act in short is one man being given random subjects by the audience and rapping about it. But that feels like a massive oversimplification.

From the b of the bang, the audience was engaged and loved being involved as they threw out suggestions for song themes.

Never in a month of Sundays did you think you would hear a rap about traffic merging onto the new Queensferry Crossing but we did.

In many ways, Abandoman has rebranded audience participation. He also looks like he enjoys his work and enjoys being close up with his audience.

The finale was fantastic. It involved a man called Todd and an inflated condom. The audience left the theatre shouting “Go Todd Go”

You get the feeling that Abandoman could well be massive. His act has stadium potential. We look forward to following his future.

Toast the end of Edinburgh’s festival season in seafaring style and soak up the magnificent Fireworks Concert display with a difference – as Maid of the Forth has announced its exclusive Festival Fireworks Cruise on 27 August.

This 3.5-hour evening cruise will sail downriver from South Queensferry to view the Virgin Money Fireworks display from the water. Passengers can enjoy a welcome glass of fizz upon arrival, live jazz music from resident band, Maid of the Forth Stompers and a BBQ Rib-eye steak supper, as the sun sets against the iconic backdrop of Edinburgh and Fife. Then, the evening culminates in watching the outstanding fireworks display which will light up the sky and waters below.

Duncan Macrae commented on the new cruise: “They are the dazzling finale to Edinburgh’s festival season and the magnificent Fireworks Concert display can be seen from all corners of the city. However, for a unique difference nothing beats taking to the Firth of Forth for an uninterrupted view.

“The fireworks are just stunning to watch from the water and, coupled with our live jazz music, it’s a truly memorable occasion.”

Maid’s fully stocked bar will sell a wide range of alcoholic and non-alcoholic drinks to keep the celebrations going whilst vegetarian options are available at the BBQ.

Tickets for the Maid of the Forth Festival Fireworks Cruise on 27 August cost £35 per person and are expected to sell out fast. They can be booked online at www.maidoftheforth.co.uk or by calling 0131 331 5000.

Thousands of students across the country are getting ready to start university this summer and planning for Freshers’ Week is well underway and Police Scotland are offering their advice for what will be a busy time.

Chief Superintendent McKenzie from Police Scotland’s Safer Communities Department said: “It’s an exciting time for people starting university and college courses.

“Everyone who’s gone to university will remember the stress of sorting out accommodation and going to their first Freshers’ Week.

“Police Scotland has been working with universities and partners to help and offer advice – and hopefully make it as stress free as possible.”

For those looking for accommodation, the advice is research any potential property. Try and visit the property first with someone you know. Criminals take advantage of this busy period, targeting students with accommodation fraud. You don’t want to find out once you arrive that you’ve actually got nowhere to live.

It’s also recommended you check that any emails or phone calls relating to student loans and finance are genuine.

If you’re concerned about your property, immobilise.com is a website that lets you register your property, making it easier to return if it’s stolen.

The advice being offered is not only relevant for first time students but for returning and existing students too.

Police officers will be at various Fresher stalls across Scotland.

Chief Superintendent McKenzie said, “One of the best aspects of university and college is the social life. It’s an opportunity to meet different people and gain new experiences, but I’d like to remind people to be aware of certain things.

“Simple things like not leaving your drink unattended and not accepting a drink from a stranger are important for your safety. Look after your friends and take care of each other. Don’t go off on your own and only use registered taxis.

“If you’re offered drugs, you have no idea what they contain or how your body will react to taking them. Our advice is simple – There is no safe way to take drugs. If you see someone who has taken a substance and they are unwell you must seek medical attention immediately.”

More information can be found on the Police Scotland website and social media accounts.

He came. He saw. He got the tram back home.

Unfortunately, the weather, having been fantastic for ages, decided that enough was enough and brought Edinburgh’s various Festivals a bit of damp, miserable – and some would say ‘typical’ – Edinburgh grey-ness.

With few, if any, of the listed authors – quite rightly – due to be ushered out to the, famed, grey carpet, it was decided by our intrepid photographer that, having already captured the National Youth Orchestra of Canada ‘doing their thing’, it was best to cut his losses and try again another day. Maybe tomorrow. Shame really, as one of the regular photographers attending the EIBF had managed to ‘persuade’ the construction crew to arrange the photography area much more… sympathetically. Stand up and take a bow Gary Doak.

All the planned events and talks will still go on as they, and the queueing areas, are all under cover. They thought of everything. Almost….

For the series of concerts at the Ross Bandstand, Summer Sessions, featuring big names such as Sir Tom Jones, Paloma Faith, Brian Wilson and Rag ‘n Bone Man who appears there tomorrow night, organisers put up black hoardings on the railings.

The sole purpose, it appears, was to stop people from seeing the concert without paying.The sound system means that anyone in the area can hear the music of course, but organisers did not want anyone to enjoy the view without buying a ticket.

Then the council leader Adam McVey stepped in. With one single tweet published yesterday, he hopes that he has changed everything, although it appears that discussions will be held with council officers today.

This is public space & these are public views. Ticketed events cannot put up barriers which are to the detriment of the city.
I’ve asked officers to remove ASAP & for a guarantee that these won’t be erected for any future events. pic.twitter.com/fAY6NmBCnr

— Cllr Adam McVey (@adamrmcvey) August 12, 2018

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The Council Leader told The Edinburgh Reporter this morning : “These are the highest barriers I can remember seeing and the first time I recall our skyline being blocked out in this way. I’m confident we’ll find a solution with organisers to avoid seriously affecting the character of Princes Street while ensuring public safety.”

There are of course two sides to this. If you have bought a ticket for any of the concerts at over £50 a time, then you may think it unfair that someone passing on Princes Street could effectively watch the whole concert for free. Any viewers would be at a distance, but nonetheless it could be a free concert if these boards are removed.

Boards like these have been used in the past to keep people out of the gardens when they had not paid to get in to an event. I think I am correct in believing that there were boards up during Sleep in the Park and Edinburgh’s Hogmanay. So why has this only become something to complain about now?

It may have started with this tweet from @fountainbridge who drew everyone’s attention to the narrowed pavement on Princes Street as well as the barriers at the end of last week :

Welcome to #Edinburgh. Please enjoy these spectacular views of @edinburghcastle from behind these 10 foot high barriers. We’ve also closed off 1/3 of the busy pavement for your safety #edinburghfringe #edinburghfestival @LivingStreetsEd @thecockburn @theSpurtle @sto_paul pic.twitter.com/LejCRJoW2P

— Fountain Bridge (@fountainbridge) August 9, 2018

https://platform.twitter.com/widgets.jsLocals reacted to this series of photos with rage, particularly as the memorial benches have also been cordoned off. Cllr Lewis Ritchie said he had written to the council to ask that any decision to allow these barriers was revisited.

The Cockburn Association, the architectural conservation organisation, say that they raised the matter as one for concern with the council. On their Facebook page they praise Councillor McVey’s speedy action on the removal of the barriers. We have not been able to find any planning applications on the council’s website.

The New Town Flaneur, the unidentified New Town resident who tweets about red trousers  and life in the area to the north of Princes Street, tweeted the photo of the hoardings yesterday

This Anti-Proletariat Protection Rampart is essential to the security of the New Town.#Edinburgh pic.twitter.com/kBMTupiBMV

— New Town Flâneur (@NewTownFlaneur) August 12, 2018

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Andy Wightman MSP who is a self-appointed guardian of the capital’s ‘common good’ land, also applauded the council leader’s initiative.

The matter of common good status will be one hurdle for the Ross Development Trust (RDT) to get across when they develop the new bandstand in West Princes Street Gardens. That along with planning permission, funding and a scheme for management of the development.

You can read and listen to our interview with David Ellis the RDT Managing Director here.

What do you think? Do you have a ticket for the concerts? Does it bother you that others might watch for free?

We asked the organisers of Summer Sessions for a comment which at the time of publication they had not given us. We will add it here if they come back to us.

Edinburgh’s City Youth Cafe hosts Canada’s National Youth Orchestra

A number of members of Canada’s NYO performed an extract earlier today from their upcoming Usher Hall concert at the 6VT Edinburgh City Youth Cafe in The Vennel.

Credited with showing energy, conviction, and breathtaking freshness, the National Youth Orchestra of Canada brings together the finest musicians aged 16 to 28 from across the vast country to form one of the world’s most accomplished youth ensembles.

Throughout its half-century history, NYO Canada has toured the US, China, Europe and Japan to huge acclaim, its performances lauded for their commitment, focus and sheer exuberance.

NYO Canada spans the Atlantic with music from North America and Britain: the radiant tunefulness of Copland’s optimistic Appalachian Spring, capturing the spirit of pioneer America; Vaughan Williams’s achingly beautiful Third Symphony, nostalgic and deeply lyrical; and the first UK performance of a new work titled “Moontides” from celebrated Canadian composer John Estacio.

British conductor Jonathan Darlington, Music Director of Vancouver Opera, directs the concert.

The full NYO Canada will appear at The Usher Hall tomorrow night (14th August).

Tickets and further information can be found at https://www.eif.co.uk/whats-on/2018/nyocanada

It is very easy in life to be dismissive of those who don’t speak your language, but it would be very hard to dismiss Kenyan, Ngũgĩ wa Thiong’o. He is a storyteller who envelopes you in his stories, which is exactly what he did with great charm in Charlotte Square Gardens. He is frequently believed to be a candidate for the Nobel Prize in Literature.  Reduced to a one word answer for the final question (when time was up), he was asked about keeping going and what makes him do that. His answer? “Fight!”

It has been a life of having to stand up for his beliefs and fighting his own corner. Now he believes that ‘multilingualism is the oxygen of culture’.

He has written in Kikuyu, (or Gikuyu) his native African language, and the session was chaired by Professor Thomas Molony, Director of the Centre for African Studies at the University of Edinburgh. But one of the interesting declarations Ngũgĩ offered was that many of those learning about or researching Africa have not read, or perhaps more importantly written, an academic paper in an African language.

Ngũgĩ’s article in the most recent issue of Gutter magazine has been translated by Edinburgh Makar, Christine de Luca into Shetlandic, and Nick Barley said to the audience that he wants this piece translated into more languages than any other. Quite a challenge.

Ngũgĩ’s life is an important story, both in and out of his native land. He is back at the Book Festival after 12 years, and given that Festival Director Nick Barley introduced him (and shared with us just how excited he was about this session) this was something special.

The author was imprisoned for a time simply as a result of his writing, making him the perfect guest in this year when the theme of the festival is Freedom. All of the authors in Charlotte Square Gardens are asked to consider freedom, democracy and capitalism and the question marks hanging over all of them.

This year 52 authors have been asked to write essays on the subject of freedom and the result, the Freedom Papers examine many aspects of modern life with poetry, fiction and illustrations. The publication of the Freedom Papers as a supplement to Gutter Magazine offers much to think about.

Ngũgĩ explained that colonisation added to the superiority of the English language, but that while there is a hierarchy of languages which we are used to thinking about, we must fight against that elevation of some over others.

He admitted that English is the language of power, but pointed out that each language has its own musicality and there is nothing wrong with any language.

The Edinburgh International Book Festival receives funding from Creative Scotland and The City of Edinburgh Council and this year welcomes over 900 participants from 55 different countries to its tented village in the heart of Edinburgh and runs from Saturday 11 to Monday 27 August 2018.

Entrance to the Gardens is FREE and the gardens, cafes, bookshops and all venues are fully accessible.

Full details of the programme can be found at www.edbookfest.co.uk. Tickets to all events go on sale at 8.30am on Tuesday 26 June 2018, online at www.edbookfest.co.uk, by phone on 0345 373 5888 or in person at The Hub, Castlehill.

A 49-year-old man was today sentenced at the High Court in Edinburgh to nine-years in prison for a number of serious sexual offences committed against teenagers in Edinburgh and Midlothian.

Scott Forbes had previously been convicted of raping a 14-year-old girl at a property in the Gilmerton area and the serious sexual assault of another 14-year-old girl at an address in the Firrhill area, as well as possession of indecent images of children.

He was further convicted of filming a teenager as she undressed without her consent at her home in Midlothian, and pled guilty to taking indecent images of children.

The offences all took place between November 2009 and May 2017, and detectives were alerted to Forbes after the victims bravely reported their attacks to the police.

He was also ordered to be registered indefinitely as a sex offender.

Detective Sergeant Jonny Wright, of Edinburgh’s Public Protection Unit, said: “Scott Forbes is a devious individual who took advantage of each of the victims’ trust.

“I want to commend their bravery in coming forward, which has led to Forbes’ conviction.

“I would also like to reassure any victims of sexual crime that there is no time limit to reporting offences and we will always investigate.”

Anyone with information about sexual offences can contact Police Scotland on 101, or report this anonymously to the independent charity Crimestoppers on 0800 555 111.

Killymuck

1825 hrs

HOW many plays in the Edinburgh Fringe look at working class life? Not enough say some but that is an argument for another day.

Killymuck reflect on life in a Northern Ireland housing estate in the nineties. The narrative is interspersed with short didactic pieces that implore you to look at the problems inherent in working class life. It seems so apposite today when you feel that social mobility is more restrictive than ever.

Aoife Lennon’s performance is a tour-de-force as she draws you in to her character’s life and draws the picture around her. As this is drawn from the writer Kat Wood’s life, some of the information you receive is harrowing especially around alcoholism and suicide.

Sometimes a play like this can be drawn into mawkish stereotypes that ends no better than Mrs Brown’s Boys meets Bread but not Killymuck. This paints pictures of real people and real testimonies whether it be her father or neighbour, whether it be the best friends or bitter enemies.

There can be a tendency at the Edinburgh Fringe for the middle class to testify to the middle classes. That is not necessarily a criticism just an observation. We would implore anyone to take a chance on Killymuck where deep in the heart of Bristo Square, where the walls have the names of scientists, a post mortem takes place on working class life in Northern Ireland.

Police have released CCTV images of a man they are looking to trace in order to assist with their ongoing enquiries into an attempted robbery which took place in Dundee Street around 2.20am on 5th July 2018.

Two men were approached and threatened, with a demand made for money and an attempt made to strike one of the pair.

Detectives are now releasing images of a man who may be able to assist police with their enquiries.

He is described as white, tall, of slim build, with a prominent nose and dark hair which was shaved at the sides and back and longer on the top.

He is pictured wearing wraparound-style sunglasses, a dark-coloured jumper, jeans and dark-coloured Adidas trainers with white detail.

Detective Constable Joyce Gunderson of Corstorphine CID said: “The two men were just trying to make their way home when this incident took place and, as part of our enquiries, we’re urging anyone who may recognise the man pictured to contact us as soon as possible.”

Anyone with information can contact Police Scotland on 101, quoting incident number 1236 of 5th July, or report this anonymously to Crimestoppers on 0800 555 111.

East Lothian Foodbank, part of a UK network dedicated to alleviating food poverty and hunger in the local communities, has been named as official charity to the Scottish Senior Open.

The tournament will be played at Craigielaw Golf Club, East Lothian, from September 14-16 and admission is free on all three days but car parking will be charged at £5 for a solo driver and £10 per car with two or more occupants with all proceeds going to East Lothian Foodbank, part of the Trussell Trust’s network of 428 foodbanks across the U.K.

The first 36 holes of the £250,000 tournament, which began in 1993 and has been played every subsequent year, will be contested in the Alliance Pro-Am format (amateur players paired with a professional). The final round on Sunday, September 16 will be for pros only, with the winner taking home a cheque for £37,500.

This will be the fourth consecutive year that the Scottish Senior Open has been contested in East Lothian, home to many of the country’s top golf courses.

The event was won at Renaissance Club in 2017 by England’s Paul Broadhurst, who also triumphed at Archerfield Links in 2015, with fellow Englishman Paul Eales taking the title at Archerfield in 2016.

Tranent-based East Lothian Foodbank, was set up in direct response to local need and opened in October 2012. Based in the Old Library in Tranent, East Lothian Foodbank fed a total of 4409 people in the East Lothian area during the 12 months from July 1, 2017 to June 30, 2018.

In one month recently, 176 three-day emergency food parcels were distributed – a total of 3428kg of food – feeding 346 people of whom one-third were children.

Peter Dicker, manager of the East Lothian Foodbank, said: “Our objective is the relief of poverty in the East Lothian Community and every pound collected is precious in our mission to help people experiencing severe hunger.

“The Foodbank was by former East Lothian MP, Fiona O’Donnell, as a direct response to local need. There was, and still is, a growing number of people experiencing severe food poverty and we aim to alleviate this challenge through dependable emergency supplies accessible to people on their own, single parents and schoolchildren to persons released from custody requiring assistance.”

A total of 13,000,000 people live below the poverty line and in the last year the Trussell Trust gave 1,332,952 three-day emergency food supplies to people in crisis.

Councillor John McMillan, East Lothian Council spokesperson for Economic Development and Tourism, said: “It is fantastic that a charity like East Lothian Foodbank will be the benefactor of the event, meaning spectators can turn up to enjoy some great golf in a wonderful setting, knowing they’re helping some of the most vulnerable in our society.”

Former Hibs’ star John McGinn produced a five star performance to help Aston Villa to their second successive victory in the English Championship on Saturday.

McGinn signed for Villa last Wednesday and was immediately selected for the home game against Wigan.

He had a dream start and created the opening goal from James Chester with a superb free kick and earned the appreciation of the fans by chasing lost causes and blocking Wigan from playing out from the back.

The Scotland international later played a part in Villa’s other two goals as they came from behind to win 3-2 and supporters took to social media to praise his contribution.

His set pieces throughout were impressive and he demonstrated his strength in the tackle and endless energy.

After the game Steve Bruce said: “I’d hve loved to have signed John McGinn six weeks ago but couldn’t.

“It’s a smashing debut – he’s going to be a crowd favourite.

“You can understand why. He’s got that bit of something about him when he tackles, it means something to him.

“He’s strong, powerfully built, a fierce competitor and we’re delighted we’ve been able to get him over the line.

“He produced a free-kick, it’s what he’s got in the locker. He gives us a nice balance, he lets Grealish go and do what he has to do.”

The Scottish SPCA is appealing to people in Edinburgh and the Lothians to help raise funds for abused, abandoned and injured animals by volunteering in their community.

Scotland’s animal welfare charity is urging locals to get involved this Scottish Animal Week, which runs from 3 – 9 September, by raising funds in their local area.

Diane Aitchison, manager of the charity’s animal rescue and rehoming centre in Balerno, said, “Last year our centre cared for 987 animals and this year we have already cared for 735 animals so we really need the support of the public more than ever.

“As an animal welfare charity, we receive no government or lottery funding and rely on the generosity of animal lovers to continue our vital work.

“During Scottish Animal Week we have opportunities to fundraise throughout Edinburgh and the Lothians and we’d be really grateful if locals can get behind our appeal and help.

“Door-to-door fundraising can be carried out between Monday and Friday, while people can hold street collections on the Saturday.

“We encourage people to have a bit of fun and some of our past volunteers have dressed up in costumes or taken a canine friend along with them.

“Even if someone can only spare an hour or two to collect vital funds, their time and efforts would be hugely appreciated.”

To stay up to date on Scottish Animal Week you can follow #InYourLocalCommunity and #ScottishAnimalWeek18 on social media.

Anyone who would like to help fundraise for the Scottish SPCA can contact the fundraising team on 03000 999 999 or email fundraising@scottishspca.org

The award-winning, sell-out hit by writer Peter Arnott and director Cora Bissett returns.  Angie Darcy’s Joplin, backed by a live band, is electric.

I was really pleased to see that Janis Joplin Full Tilt was returning for this year’s Fringe.  I saw this biographical play by writing/directing team Peter Arnott and Cora Bissett in 2014 and I was immediately tempted to see it again.  There’s a reason the play is back and that Angie Darcy‘s tour de force performance has won so much praise, they are both great.  The way Joplin’s life is covered is well-handled, although from what I know her last day doesn’t quite match what’s in the play.  However, it fits the tone and content of the piece as a whole so that doesn’t matter.

What does matter is how it presents how fragile and racked with confidence issues Joplin’s life was, despite her being one of the greatest performers of the Sixties and a highly talented musician and singer.  Joplin had troubles and, no matter how hard she tried to shake them, they followed her round throughout her life.  Between Darcy’s performance and the writing something miraculous happens – you feel sorry for a rock star.  No doubt she was a pain in the hoop a lot of the time but what we see on stage is somebody who desperately needs a friend and somebody you want to hug and comfort.

Effectively this is a one person play.  While the band give Darcy the musical backing and Harry Ward as John Till (founder of the Full Tillt Boogie Band) interacts with her in a couple of scenes, the play is mostly monologues.  That doesn’t mean it’s self-indulgent or dull, far from it, but this is about Joplin and her devastating loneliness, which Till implies is partially self-inflicted.  As the play says, there are touches of every woman’s blues in Joplin’s music and you can’t help but feel for her.  Was she a pain in the arse?  Hell yes but you get the feeling from this that she was hard not to love and forgive.  How true that is I don’t know but as a fan I hope it’s true.

There were times when you can’t quite make out what Darcy is saying when the band is playing.  However, that’s a minor complaint as I imagine the sound engineer has their hands full coping with the change from quiet dialogue up to full on musical howls.  Darcy combines being a singer working with Joplin’s depth, range and screaming, an actor, an impersonator and a boogie shaker.  I’m still impressed by how she manages to bring all that together in this performance but Darcy does and runs full pelt with it.  You are enthralled throughout the play and, judging from the audience, that doesn’t just apply to ageing male rockers.  If you haven’t seen this yet then get going before the run ends.

Louise Nichol who owns The Dragonfly Gifts on Broughton Street is a multitasker, although she just calls herself busy. She owns and runs the lovely gift shop, and also works for RBS as a Supply Chain Manager.

She looks after the shop’s admin at weekends, and when she’s not doing that she hangs out with her two cats, Pushkin and Poe, her horse Honey and a very understanding husband, Brian. Oh and to keep herself from wearying she also makes candles, cushions, jewellery, stained glass and up-cycles when she can too.

Louise explained why she started the business in  August 2011. She said : “I wanted a business that I could leave the corporate world that I live in and I wanted something that I could really ‘create’, something that reflected me and who I am. Even though I bought a going concern, I’ve spent a lot of time and effort making The Dragonfly a true reflection of my vision, and something that would grow with me as I moved away from the corporate work and my day-job at a blue chip company. I always loved shops of this kind, and thought about owning one myself. I used to spend weekends with my husband watching footfall into shops in various areas of Edinburgh.

“We used to sit in bus shelters or hang out in cafés getting a feel for the vibe in the area. This shop came onto the market and we loved the Bohemian feel of Broughton Street, where we had been, so I knew this was the one I liked the look of. The lady who owned it before had baby wear and cards, but we have extended the home range and we have more individual artists, perhaps our things are a little bit more unique.

“We probably have about half traditional suppliers and half independent suppliers. Some of the things we sell, people make themselves.

“I make candles too, so I understand smaller suppliers who fit us really well.”

She explained that the suppliers are independent and individual and I suggested that was probably a bit like Louise herself. She then explained she is also a mentor and helps with ESpark which mentors small businesses starting out. So occasionally if a supplier comes in with a new product which is perhaps not well packaged, but is a lovely product. She is able to help them with that, as well as selling their products for them.

There are a few trade shows that she goes to each year across the UK, but sometimes she gets emails from potential suppliers with new products to add to the already burgeoning range of gifts that The Dragonfly stocks. She is pretty discerning though.

Louise continued : “We have to see the quality, as it is the quality that is most important. If it is worthwhile then perhaps the producer can do something slightly different with it and I can make suggestions about that.”

The stockroom under the shop is packed with more lovely things, but there is usually one of everything on display.

Customers can buy online but the shop is also open seven days a week. The shop is packed with lovely things and Louise is keen that customers have a nice time when they are there.

“For me, it’s all about the customer and their experience. Our lovely customers are so important to us. A simple smile and hello, thank you and goodbye costs us nothing, but isn’t it always the simple things that work best?

“We want them to feel welcomed and relaxed when they come in to see us. We can leave them in their own world to mooch around, or help if they’ve got that challenging individual they need to buy the perfect gift for. Sometimes, we can offer a little inspiration and our suggestions often hit the spot perfectly.

“We work hard to maintain a mixed variety of stock, from traditional suppliers to small, independent artists. We want our customers to be happy with their purchases and to trust us so quality is vital. But that doesn’t have to come at a cost so we look around for affordable quality.”

The Dragonfly team consists of Sophie and Elfreda who do a split shift through the week, Marie (yes that’s Louise’s Mum) who helps cover holidays and joins her when she goes to trade fairs. With background help from Diego the technical expert, Jack the wages man and Louise’s husband, Brian who doubles up as the handy man…and Louise of course!

In Livewire Theatre’s Twelfth Night or The Ship of Fools, a shipwreck becomes a plane crash, a countess wields a hammer, and a duke’s palace is a funfair – though it’s not always very fun.

Shakespeare wrote Twelfth Night as an entertainment for the end of the Christmas season. It’s a comedy based on mistaken identity and anarchic uproar; Mary Tate’s production retains the play’s far-fetched plot but adds Gothic elements and some darker undercurrents.

When Viola thinks she’s the sole survivor of holiday flight 1212, she’s out of her sundress and into androgynous clothing in no time, and is soon employed as Duke Orsino’s manservant. The duke has convinced himself he’s in love with Countess Olivia, but she’s too busy grieving for her dead father and brother to countenance any romance. Instead she appears to be building a giant heart with the aid of a range of power tools. Yes, I think this could be a metaphor…

The count’s palace is occupied by a group of party people, who rush on and off the stage and all round the room causing mayhem. In Shakespeare’s original, Fabian and the clown Feste are Olivia’s servants; here they are joined by ‘The Fools’ Chorus’ of Lord Carrion, Lady Flyblown, Crowbait and Scavenger, macabre symbols of the decadence and decay that blights Illyria. As Lady Flyblown, Ottilie Whitwell brings to mind Helena Bonham Carter in her maddest Bellatrix Lestrange phase, all black lace and scary nails – and her steampunky friends are pretty frightening too. You certainly wouldn’t want to meet them in the Ghost Train, one of the rides set up in the palace theme park. James Hall, meanwhile, is a convincing Fabian, reincarnated as a wheeler dealer of the kind you might expect to meet in your local market – except this one’s dealing in body parts.

Sir Toby Belch, Olivia’s waster uncle, and his comrade-in-arms Sir Andrew Aguecheek, may hang about in the same bars, but in this production their characters are quite different. While Aguecheek is a rich buffoon, Belch is a sharp card, a black sheep who just can’t be bothered to fit in with his niece’s family. Giff Hogge brings real depth to this character; he may slob about in a tacky shell suit, have slightly-too-long-for-his-age hair and look permanently hungover, but he can flip from joker to psycho in moments. He’s a manipulating schemer, and when he threatens Malvolio, Olivia’s steward, (‘You. Ain’t. Nothing. But. A. Hound. Dog’) he is quietly terrifying.

There were a few hiccups in this, the first show in a seven day run, but all of them were well recovered. Props are good, in particular the parasol that morphs into a merry-go-round with the aid of some horse glove-puppets. The scene in which Belch and co spy on poor Malvolio from the Punch & Judy booth is clever, but whilst some of the dance numbers are amusing, I felt that there were a few too many 80s pop songs. Send in the Clowns, sung with deep irony, is very effective, but at times the inclusion of so many other tunes felt superfluous and slightly irritating. There’s also quite a lot of shouting, especially towards the end of the play; a little less might perhaps be more powerful.

Fabia Tate’s Viola is occasionally slightly wet, but her ‘Make me a willow cabin’ speech is beautifully delivered, and well complemented by the delicate music that accompanies it.

If Giff Hogge is one star of this show, the other is Henry Weston Davies as Malvolio. Pompous, foppish and camp, when Davies rushes on stage in a fur-edged dressing gown and red turban to chase the fools away he is more Coward than Noel himself. At other times he brings to mind Kenneth Branagh’s Gilderoy Lockhart or even Giles Brandreth (who has actually played Malvolio in a musical version of the play). His increasingly manic reading aloud of the letter he thinks Olivia has written to him is hilarious, but there’s more to Malvolio than that, and when he realises he is the victim of a cruel practical joke, Weston Davies shows us real pain and bitterness. Locked up (in the Punch and Judy booth) and tormented by his captors he cries;

‘This house is as dark as ignorance…………will no soul take pity on me?’

And even Belch realises he has gone too far.

The play relies, of course, on the fact that Viola and her (presumed drowned) brother Sebastian are identical twins.  In order to differentiate between the characters, Tate has Sebastian dressed in a hoodie and shades, which does make one wonder how anyone could ever mistake him for Viola/Cesario. But Twelfth Night is a comedy and we’re meant to suspend disbelief and go with the flow; after all, how else can we believe that Sebastian can’t recognise his own sister, or that Count Orsino, who’s been obsessed with Olivia, is suddenly completely OK with marrying Viola instead? The play’s original title is Twelfth Night, or What You Will; when almost everyone has been successfully paired off the cast sings;

‘But that’s all one, our play is done…’

Because Twelfth Night is just that, a play, an entertainment. Make of it what you will.

One last point; the noise from the show on the floor above this room was annoying, intrusive and very unfair on the cast (all of whom managed, to their credit, to remain audible). C Venues need to re-examine their programming, and I hope they are able to rearrange things to give Livewire the venue they deserve.

Twelfth Night or The Ship of Fools is at C Venues – C 2+, Chambers Street (Venue 34) at 1.35pm every day until Saturday 18 August. Tickets are available from Fringe Box Offices or online here.

Hidden Door is a name well known to those interested in arts or music in Edinburgh. In recent years they have grown from an experiment to an established festival in Scotland, moving from one careworn building to another in the process.

In the first year they began life in the Waverley Arches which are now thriving shops, and another year they took over empty spaces in King’s Stables Road.

There are about ten organisers throughout the year and the crew rises to about forty nearer the time of the festival itself. They want to register as a charity and the fundraising will help with that.

But the challenges of doing all of this with volunteers and unreliable funding has taken its toll. Organisers now want to put the festival on a more secure financial footing and are seeking fundraising of around £80,000 to ensure the future of one of Scotland’s most exciting arts events.

We spoke to Hidden Door’s David Martin about the crowdfunder which is now live on their website.

There is a range of packages available all offering some benefit in return for a donation, including invitations to exclusive events and VIP experiences, discounted tickets and behind the scenes access.

[tweet_box design=”default”]Become a Hidden Door Supporter, Member, Patron, Ambassador or Saviour in their new fundraising campaign which begins today. Visit www.savehiddendoor.com to help and donate. #SaveHiddenDoor [/tweet_box]

Last year the festival took up residence at Leith Theatre building bars with pallets and bringing the arts venue back to life.

Irvine Welsh, author and Patron of Leith Theatre, said: “The contribution that Hidden Door made when they worked with us to open up Leith Theatre last year and showcase its potential made an absolutely massive difference to the Trust’s progress. It’s important to support grassroot arts organisations who give space and a platform to emerging artists. I really hope they succeed in raising enough money to keep contributing to Edinburgh’s edgier and inclusive scene.”

Vic Galloway, DJ and presenter, BBC Scotland, said: “Hidden Door Festival is one of the most exciting and innovative events happening across Edinburgh’s vibrant arts calendar. I see its future and reputation growing in stature as it progresses forward, and I wholeheartedly support its vision. Scotland and Edinburgh especially needs this event to flourish and succeed!”

Jack Hunter, Chair of Leith Theatre Trust, said: “Hidden Door has been instrumental in our campaign to save the theatre, and generous in its time and support. We very much hope that it will succeed in its bid to raise funds and remain an exciting and passionate voice in Edinburgh and Scotland’s cultural scene.”

Visit www.savehiddendoor.com to find out more and donate.

Hidden Door is an arts organisation which aims to open up urban spaces as a platform for new and emerging artists, musicians, theatre makers, performers, film makers and poets. Through organising temporary events Hidden Door works to showcase new work and create engaging environments for the public to experience, explore and discover.

Website: http://www.savehiddendoor.com

Hashtag: #SaveHiddenDoor

Twitter: https://twitter.com/hiddendoorarts

Facebook: https://www.facebook.com/hiddendoor

Instagram: https://www.instagram.com/hiddendoorarts

Timmy
Studio Four
George Square Theatre
1615 hrs

LET’S be honest, this reviewer could listen to dialogue written by Roxy Dunn all day. It is snappy, sharp and incisive plus it makes you laugh.

In this two hander, Roxy Dunn and Joz Norris play a couple with a relationship less on the edge and more like drowning in sea of vagueness.

Judith tries to extract some form of commitment from Timmy but he isn’t really having it and ducks and dives like a latter day Hugh Grant. In fact you get the feeling that if there had ever someone who will write a Notting Hill for the millenial generation then it is Roxy Dunn.

There must be praise for Joz Norris who plays Timmy with natural diffidence as the young man child who needs to grow up. The emotionally retarded young man is not an original character but Timmy has an added poignancy, especially when you witness the final scene.

Viscera Theatre have a series of shows on at the Edinburgh Fringe Festival and we heartily recommend them. If you like sharp scripts and pin-point characterisations then give all their plays a chance. You will not be disappointed.

A Courtroom Play
Pleasance Dome
1225 hrs

IF you want to see a play that has cracking one liners and superb sight gags then this is the play for you.

Alex Stone is a hotshot lawyer about to make partner, when an urgent call from an old friend drags her back to the town she thought she’d left behind.

All six actors star in a play that celebrates top gags and especially sight gags. The judge played by Thom Tuck, sounding worryingly like Boris Johnson, steals it and its aided and abetted by the scenery.

This reviewer is always impressed at how theatre groups manage to use such limited space. This performance not only has the six actors in a small stage but also manages to deliver a series of great sight gags.

Initially, you think this was going to be a serious piece but it seems to ditch that idea when it moves back to the country. Quite right do. The audience loved a play that worked so hard to entertain.

We sat in judgement of the Courtroom Play and found it guilty of being a hilarious and entertaining hour of humour.

This has some really funny moments, and some really funny lines. When we saw the really short preview last weekend, it sparked enough interest to tempt me along to see the full play.

But if someone said go to a play on the mental health and PTSD suffered by war veterans – I would probably say no.

Our Boys at PQA Venues however changes that. It is a hugely engaging, terribly funny and sometimes painful exploration of damage and recovery.

The cast is excellent, transporting us through the grim reality and gallows humour of a recovery ward. When you witness something so powerful it seems like it can change things. This play and this production deserves to be seen.

Do yourself a favour and go see it.

Jonathan Guy reimagines Our Boys with an updated version for today.

Tickets here. 

Hibs came from behind to secure a share of the points against St Johnstone in Perth this afternoon.

Neil Lennon made four changes from the starting XI that drew with Molde FK on Thursday night as Emerson Hyndman, Jamie Maclaren, Oli Shaw and Steven Whittaker replaced David Gray, Vykintas Slivka, Marvin Bartley and Florian Kamberi.New signing Daryl Horgan was listed amongst the substitutes.

Both team had early chances then the 13th minute Martin Boyle’s cut back found Jamie Maclaren but his shot was cleared off the line by Steven Anderson and Lewis Stevenson fired the rebound wide of the post.

St Johnstone took the lead against the run of play in the 22nd minute when former Hearts’ winger Tony Watt’s cross took a wicked deflection off Ryan Porteous to beat Hibs’ keeper Ross Laidlaw.

Laidlaw then did well to Drey Wright and Zander Clarke produced a fine save from Boyle as play raged from end to end.

Anderson cleared a Stevie Mallan off the line before Laidlaw kept Hibs in the game with a sensational save from former Hibs’ winger Mattie Kennedy.

Hibs were denied a penalty just before the break when Anderson appeared to pull back MacLaren inside the box, but referee Willie Collum waved away their appeals.

Hibs equaliser arrived in the 50th minute when Shaw headed home form close range after a cross from Boyle.

Mallan and Boyle both went close as Hibs were in the ascendancy and substitute Horgan almost opened his account with a fine strike which was deflected just over the bar.

At the other end former Hibs’ captain Liam Craig went lose with a header from Richard Foster’s cross.

With 12 minutes remaining Stevenson fired inches wide after some excellent patient team play for Hibs then moments later Efe Ambrose produced a superb block to deny Blair Alston and the game ended all square.

Hibs now travel to Norway in midweek for the second leg of their Europa league third qualifying tie against Molde before facing Ross County next Sunday in the Betfred League Cup last 16.

St Johnstone: Clark, Tanser, Alston, Anderson (Gordon 60’), Wright (Wotherspoon 86’), Davidson, Kerr, Foster, Craig, Watt (McMillan 90’), Kennedy. Substitutes not used: Mitchell, McCann, McClean, Scougall.

Hibernian: Laidlaw, Whittaker, Hanlon, Maclaren (Kamberi 63’), Boyle, Stevenson, Hyndman (Horgan 63’), Mallan, Ambrose, Shaw (Swanson 85’), Porteous. Substitutes not used: Dabrowski, Gray, Bartley, Slivka.

Referee: William Collum.

Attendance: 4,367.

Don’t go to see Aye Elvis for the music, but do go along for the music. You might not be someone who hates Elvis, but then who doesn’t love Elvis? Such a good looking man, such a good singer, although ultimately flawed like the rest of us.

If there are any Elvis haters, they are certainly not living in Aberdeen.

Joanie lives there with her ageing mother, and hits the difficulties of all of that spot on, for those of us who have been there.

Gilded Balloon features the very best of Scottish theatre and new writing in Morna Young’s Aye, Elvis which comes straight from the Òran Mór’s A Play, A Pie & A Pint. This is billed as a story about downtrodden escapism, identity and a Doric Elvis.

This is raw emotional stuff with a lot of dreams and aspirations flung in for good measure.

Fat Bob is delightful, Mum is extremely believable (and pretty efficient with the F word) and as a trio they are magnificent. You will have Elvis in your head for days afterwards. But then that is only a good thing, right?

One audience member said on leaving the show ‘an unexpectedly poignant, delightful ensemble piece’.

Playing to the lunchtime crowd is probably not the easiest of gigs, but from the off Simon Callow has not given himself an easy task.

The show is Callow on stage alone, talking almost every one of the ninety minutes, without a break. He takes us from the prison cell where he is writing from, on a journey of love, desire, disenchantment and disillusionment.

Ninety minutes of listening to one voice could be tedious, but there was little that is tedious about De Profundis in the Music Room at Assembly Rooms. Callow held the audience in the palm of his hand, and at certain times you could have heard the literal pin drop.

Even if you did not know the story of Oscar Wilde, you would have been swept up by this tale. I was absolutely there in the cell with Oscar, aligning with him in his arguments (against and with himself), and tripping down the stairs with him in the lodging house where he stayed with Bosie when the latter was laid low with influenza.

Wilde was sentenced to two years of hard labour for indecency from 1895-1897, a penance that appeared to hang heavy on him one minute, but also allowed him a breather within which to hope for a future for himself and his love.

There is none it appears for the Irishman and his long-suffering wife.

The play is a letter written to his lover Lord Alfred ‘Bosie’Douglas. by Wilde who is resident in Reading Gaol. Although he was not allowed to write any fiction he was permitted to write a fictitious letter to Bosie which he was not allowed to send. It is perfectly eloquent, perfectly tortured and a real love letter.

This play was adapted by Frank McGuinness and directed by Mark Rosenblatt and comes here from The West End Classic Spring Oscar Wilde Season where it was acclaimed.

Simon Callow is not a stranger here in Edinburgh, having made his stage debut at the Assembly Hall Theatre in 1973 in The Thrie Estates. Well known to us in Four Weddings and a Funeral, his film credits also include Amadeus, Shakespeare in Love and Victoria and Abdul.

This was a masterclass in story telling and a deeply moving lyric journey. The award-winning Callow is a supreme actor, and if you can beg, steal or borrow a ticket then do go.

Drum Property who own the property at Stead’s Place have caused some debate in recent months about development on Leith Walk. Commercial units there are now vacant with some traders clinging on by their fingertips. The developer has now lodged a planning application for the two storey red sandstone block.

The developers say it will be transformed into a residential, student and visitor quarter. There will be 523 student bedrooms, 56 hotel rooms, six or seven storey high buildings and 53 affordable homes.

A campaign group called Save Leith Walk has sprung up to defend the building against demolition, and they will present a deputation at the next council meeting on 22 August 2018.

They offer some advice here for those who want to object to the planning application :

They claim the development for a mixed-used scheme combining high quality, affordable housing for local people and post-graduate student accommodation – as well as a hotel, restaurant, café and retail units.will cost £50 million.

All current tenants’ leases on the site are now coming to an end in anticipation of the redevelopment, with Gordon Burgess of the Leith Bed Shop being the latest to put up the closing down sale signs. The business will take up residence in Bonnington.

Drum want to change the entire site into a welcome and distinctive destination in its own right, which is set to have a dramatic impact both on the immediate local area and on the wider setting of Leith Walk and its connectivity with the rest of the city.

The proposals have been comprehensively revised following an extensive consultation programme with the Leith Walk community. This has included five days of public exhibitions, setting up a community liaison group – plus regular update meetings with tenants, local community groups and stakeholders.

The revised proposals reflect the distinctive, independent feel and needs of the local area.  This will include redeveloping the row of red sandstone retail, restaurant and entertainment units facing directly on to Leith Walk, which will include a new live music venue.

Welcoming the planning application, Graeme Bone, Group Managing Director of Drum, said:  “We have listened to the often passionate views of the local traders and community and we understand the importance of maintaining a distinctive and independent feel for this important stretch of Leith Walk – whilst bringing a bold, modern development for a confident and diverse Leith.

“The existing buildings at Stead’s Place are no longer an economically viable investment and we propose to invest £50 million in a new mixed-use development when all of the existing tenants move out and the site is completely vacant in 2019.

“Our proposals will bring an added dimension to Leith Walk, opening up what is currently an inhospitable industrial site by creating a vibrant, contemporary and accessible community for residents and visitors alike.”

Much of the recent consultation and debate surrounding Drum’s proposals focus on the row of retail units, cafes and the live music venue facing directly on to Leith Walk.  This remains an important part of Drum’s planning application, with all current tenants invited, with favourable contract terms, to be part of the new retail development which will front on to Leith Walk.

But Drum’s vision is a much larger mixed-use scheme which will integrate this important stretch of Leith Walk, with almost three acres of potential development space linking to Pilrig Park and beyond. And although the University of Edinburgh will be the key tenant, they say the end vision is not the usual student-led development.

At its heart will be a contemporary 56-room hotel to be operated by the University of Edinburgh which will act as a vibrant focal point for the local community and students alike.  The largest ground-floor use will be the hotel lobby and student reception, with the University of Edinburgh providing around 9,000 sf ft. of innovative and open leisure space for students, hotel guests and the wider community. Together with a restaurant and café area, this will be a far more welcoming and shared space than the usual closed student ‘common room’ area, being accessible to the whole community throughout the day and evening.

Close by will be a well-designed homes quarter bringing together some 53 affordable one, two and three-bedroom housing units developed by Places for People. This provides a comfortable and accessible living environment, away from the busy Leith Walk and linked through accessible and landscaped walkways and cycle routes to Pilrig Park and the rest of the city.

Maintaining the distinctive and independent feel of the local area lies at the heart of Drum’s proposals, and the developer is continuing to have positive discussions with many of the current traders to encourage them to return to the new development on completion – offering favourable rents, in line with current levels, and significantly lower than market value.

It was recently announced that existing tenants – charity Sikh Sanjog and its affiliated community enterprise the Punjabi Junction Café – have confirmed they will return to the new development on completion.

Hilary Jones, Trustee of Sikh Sanjog, said: “Working in the existing building, we appreciate better than most that it requires modernising and redevelopment – and we are keen to return to brand new premises after relocating for a couple of years.”

Drum say they will continue to work closely with the Leith Walk community during all stages of the development process. There are plans to incorporate artwork created by the local community into the fabric of the main buildings, including creating large murals and stained glass windows on prominent corners facing Leith Walk. It is hoped children from local schools will be involved in the design and production process, creating a permanent legacy in the building designed by local people.

Graeme Bone added: “We want our proposed development to become a blueprint for introducing modern, contemporary design into the urban landscape without sacrificing the individuality and vibrancy that makes Leith unique.

“Our revised proposals, incorporating sympathetic design with an eclectic mix of residential accommodation, hotel, restaurant, retail tenants and a stand-out live music venue, will continue the rich tradition of diversity, independence and interest which makes Leith Walk such an exciting destination in which to live, work and visit.”

Ken
Pleasance Dome 1520 hrs

ALTHOUGH this play focuses on the life of enigmatic and eccentric writer, actor, producer, Ken Campbell, it was, firstly, a pleasure to see writer Terry Johnson on the stage.

Johnson has written many a fine script including Insignificance, which became a Nicholas Roeg film in 1985.

This is presented as an interrupted monologue as Terry Johnson tells us how he came to meet and be influenced by Ken Campbell. Campbell is played by Jeremy Stockwell and what a performance it is. The “impression” is uncanny as he not only inhabits Ken but uses the whole auditorium to perform.

The whole auditorium is bedecked with scatter cushions and eccentric seating to recreate the feel of Campbell’s theatre.

The show takes you through a number of performances that Johnson was involved with and witnessed Campbell at his best (and worst).

Describing Campbell as idiosyncratic is a disservice, he had a mighty brain that broke through the fourth wall of emotional, visceral theatre.

He was able to combine a career in experimental theatre with mainstream roles. A few months ago, BBC showed his performance as a crooked lawyer in Law and Order. He was outstanding.

This was a fascinating and faithful reflection in to the life of Ken Campbell. It ends sadly as it reflects on his death in 2008 but even the funeral was described as quite a surreal affair.

This is a ninety minute play that perhaps could have been trimmed by fifteen minutes or so but then again we are talking about a man who plays sometimes lasted 24 hours!

Review: You Only Live Forever

By Viscera Theatre Company Studio Four Assembly George Square 1335hrs

WE have said it before and we will say it again, Roxy Dunn and Alys Metcalf write some of the sharpest, funniest plays around.

If you had the pleasure of seeing their 2016 show “In Tents and Purposes” you will love “You Only Love Forever”.

The audience at this performance laughed out loud throughout the performance. Sometimes, they laughed when jokes come straight at them and others completely blindside you.

The story follows what happens when one partner takes an elixir that gives her eternal life. That is just one theme in the show. The other is the interjections in proceedings as they explain the creative process between the two writers.

Alys Metcalf is a wonderful comic actress. You always feel that words such as zany are dated and hackneyed. Perhaps we will say that Alys has great timing and funny bones. You feel that she is like a really left-field children’s tv presenter. Maybe there is a play there?

Underneath the comedy there are deeper themes within. How does each partner face their growing age gap? The script enables the play to operate on a number of emotional levels however, it always returns to what they do best and that is comedy.

It is plays like this that make the Edinburgh Fringe Festival what it is but we implore you to get down to Studio Four at Assembly George Square.

This reviewer does hope that this play goes out on the road in the future.