Edinburgh Festival Fringe 2014 – Frank Sinatra the Final Curtain
Kingdom Theatre acknowledge and thanks Major Mark Aldridge, Director of Music in the band of the Royal Armour Corp for allowing Moray Innes to join them at short notice.
“During our July rehearsal period the person cast as Frank had to withdraw due to work commitments. This left a dilemma with 20 shows in a city centre large venue all booked and tickets on sale. Moray had played the part in the 2013 production but had since joined the army so was initially ruled out until an approach for special leave was made to save the production. His return has been triumphant with standing ovations and some great reviews.”
Venue details:
TheSpace @ Surgeons’ Hall Venue 53 August 1 – 23rd at 19:10 (70 minutes) not Sundays
Ticket prices £11 (£9 concession)
Box Office: Venue – 0131 510 2384, Fringe – 0131 226 0000 or edfringe.com
Police in Edinburgh are appealing for information to help trace a woman reported missing in the Capital.
Sheila Gunn-Russell from Balerno was last seen in the Morningside area at around 7am on Monday 11th August.
However, the 54-year-old has not been in contact with friends or family since then and concern is growing for her well-being.
Anyone who can assist police in locating Sheila is asked to come forward.
She is described as white, 5ft 8ins tall with a very thin build and short brown hair that is shaven at the sides. She was last seen wearing a cream jacket, maroon cardigan, black trousers, carrying a black jacket and a number of bags.
Inspector Jonathan Elliott said: “Shiela knows Edinburgh very well and is happy to travel throughout the city.
“As it has been almost a week since she has been seen, we are keen to hear from anyone who can help us establish her current whereabout.
“In addition, Sheila is also asked to get in touch to let us know she is safe and well.”
Those with information can contact Police Scotland on 101.
Edinburgh Festival Fringe Review – The Rap Canterbury Tales Re-Mix *****
Although Canadian raconteur rap-on-tour, Baba Brinkman, first debuted his The Canterbury Tales Remixed, Fringe 2004, we were stoutly reassured this latest show was a completely new box of delights – albeit still Chaucer, Canterbury Tales and well, yes again, performed in the Hip-hop/Rap idiom.
Promising a rousting, jousting fusion of ‘serious medieval swagger’ set to live, ambidexterous deck turntablism from composer/DJ Mr Simmonds, might we have anticipated Eminem in bed with The Wife Of Bath? Well, she married and buried five husbands so his chances could be decidedly slim and shady. Forsooth – let battle commence.
We are told that story-telling evolved around campfires beneath prehistoric African skies – and it sort of caught on: Homer, Ovid and the Petrarchan meter poet posse seriously ran and scanned with it. Potential punters in two minds need disabuse themselves that this is just a remix of the earlier show. This is a grittier, wittier, visceral and definitely saucier, coarser Chaucer.
One of many intriguing devices in the Brinkman ‘rapertoire’ is his disarming use of off-rhyme, assonance and devil may care scandalous lyrical word-mongering. It is the beat driven rhythm that pulsates the narrative and the sheer delight in hearing him use unlicensed abandon to get the job done. And he had his work cut out because the venue is a barn of a place with a lot of stage to fill. Credit to the tech crew for a scorching sound, light and projection mix tableau.
We allowed Brinkman his claim that Chaucer was the first ever rapper as he introduces the first of five scandalous characters – after a brief taste of the original Prologue. That the Pardoner was analogous to a US televangelist crack-dealer may be open to conjecture but as events unfold we learn that greed, indeed, is the root of all evil. Sexual shenanigans in the disguise and guile of cuckoldry, betrayal, lust and jealousy provide ample and gratuitous fodder for the afternoon’s rutting narrative. The explicit sexual idioms were hardly incongruous given the prolific, mostly illicit, congress his believable characters indulge in.
DJ Mr.Simmonds’ Nun’s Priest’s Tale scratch-mix interlude was heartily received. The screen projections were reassuringly cut and passé cartoon lo-fi complimented by medieval manuscripts and illumination. As a foil to the tedious mysogynism of some Rapper lyrics Brinkman celebrated Chaucer’s radical perspective that women are the inevitable dominate species – contemporaneously proven by some recent psycho/sociological research. You need to be there, really. The likes of Tarantino and Scorsese are referenced as is the ambivalent epistemological regarding a predatory fox’s morality. OK, you have to be there.
And for the Epilogue – ‘I’m but the empty vessel of the author/ Of the main man, Geoffrey Chaucer’. Highly recommended with perhaps a 16+ caveat to save blushes when the kids have to explain things. A veritable banquet of anachronistic anarchy – be a glutton, The Pardoner will absolve your sins – for a small consideration.
The Festival of Politics: “To See Ourselves As Others See Us”
Two key things were immediately apparent as yesterday’s Festival of Politics panel discussion got under way.
Firstly, Shetland was actually on the map—the day prior, at a similar panel, the cartoonish map of Scotland gracing the introductory PowerPoint slide stopped at Orkney, forgoing the northerly archipelago due to its remoteness. The thought crossed my mind that no one would even notice, until I realised that anyone from Shetland would, and would be sufficiently offended. But yesterday, a more cartographically sound outline of Scotland graced yet another PowerPoint slide, with all islands dutifully included.
Secondly, and more importantly, the crowd was fidgety. Not impatient, but earnest and rearing for audience participation time. Ostensibly, the panel topic was “To See Ourselves As Others See Us,” a useful outside-the-box approach to discussing the referendum boasting a roster of international journalists expounding upon the international perception of Scottish politics (it doesn’t hurt that the line is originally from a Robert Burns poem). In reality, it was a forum for venting the pent-up frustrations over a marathon-like campaign that has birthed more animosity than it has answers—and the crowd didn’t disappoint.
“That’s not acceptable!” asserted a man to my left in response to a panelist. “I’m not finished!” he added as moderator Isabel Fraser of BBC Scotland tried to respectfully interject. A Scottish Jacobite Party member stood and lambasted all sides of the debate, shaking the microphone in his fist instead of using it. A retired teacher received a chorus of murmured boos as he took nationalists to task for hounding businesses to stay silent about the repercussions of independence—a bit of a debunked critique, as the audience was wont to let him forget.
But the panel grounded the discussion as well as it could in the task at hand—explaining how the rest of the world sees the prospect of an independent Scotland. The lineup of journalists represented a broad range of international interests: Oriol Garcia (Catalonia), Mark Hennessy (Ireland), Yushin Toda (Japan), Griff Witte (America) and Thomas Kielinger (Germany).
Let’s start with Catalonia. With its own independence movement eagerly watching the results of September 18, Garcia was clear that the east coast of Spain would treat a Yes vote as a precedent for its own eventual action. The notion isn’t new; but it was refreshing to hear a Catalonian expert say it out loud, making the connection between the two nations more than mere conjecture.
Ireland? Hennessy, too, admitted that a Yes vote would prompt some awkward conversations about Northern Ireland—but given the steady No lead in the polls, he cautioned that few will pay much attention until the tables turn.
Griff Witte of The Washington Post relayed the Braveheart version of Scottish independence that most Americans harbor: blue face paint, English oppressors, kilted warriors (and a Hollywood love story somewhere in the mix, I’m assuming). Witte himself, however, lauded Scots for the perceived civility of the debate, or, if you will, the anti-Braveheart approach.
On to Japan. According to Toda, merely discussing devolution in Japan would be groundbreaking. With a heavily centralised national government, lawmakers nip any talk of increased local control in the bud. The fact that the United Kingdom is permitting the referendum in the first place is astonishing to a Japanese observer—a sobering point in itself, and one that reinforces Witte’s previous comments on the debate’s civility.
Finally, Kielinger explained that the socially democratic outlook of many Scots—that egalitarian bent we keep hearing about—doesn’t translate to a German audience.
But as each international view was put forward, audience questions kept bringing the room back to domestic issues. How do we pick up the pieces after September 18, regardless of the outcome? What do the panelists think about bias in the British media? (Fraser, of BBC Scotland, didn’t offer to answer this one.) Eventually, the panel finished off on one main question: how do we best shoulder the risks of independence, and how should we talk about them?
After some crowd contributions, Hennessy simplified the point: placing such a premium on the short-term economic risks of a post-Yes vote is demeaning to Scots. Individuals assign value to many things besides money: a more inclusive society for the next generation, a healthier nation, a more environmentally sound future.
Drawing on his homeland, Hennessy offered up the attitude of Irish nationalists—nearly one hundred years ago—as a template for shouldering the risks of the unknown: “We don’t know where we’re going, but we’re not staying here.”
Fringe actor runs theatre workshop at Craigmillar Community Arts
You may recall that The Edinburgh Reporter spoke to Vickie Tanner before she left New York to come to Edinburgh to stage her one woman show. She told us then that she would love to do some community based work with children. Well she has been true to her word.
The actress and arts educator from New York, got together with The ‘Drammie Dodgers’ youth community drama group at Craigmillar Community Arts, Edinburgh, now in its 50th Year over the last couple of days.
Vickie, a writer, actress and arts educator from New York, took time away from performing her one woman show, Running Into Me, being staged at Underbelly Cowgate at the Edinburgh Fringe, to run a theatre workshop based on her play with a mixed group of young people from the surrounding area.
Running Into Me is a compelling story of one woman’s remarkable struggle to break free from a misguided upbringing on the streets of LA. In this incredibly physical production Vickie takes the audience on a roller coaster ride into the minds of young people, growing up in drug and prison culture, simultaneously painting a vivid, insightful and deeply personal portrait of her own odyssey-like journey where she defined herself and defied the odds.
In her workshop Vickie developed personal stories from every individual member of the group, moulding them into short solo plays through a process of written and speech based work.
Craigmillar Community Arts (CCA) is a charity established in 1986 and was born from the Craigmillar Festival Society which was established in 1964. 2014 has been a year of celebration for arts in Craigmillar as it is now in its 50th year. The ‘Drammie Dodgers’ youth community drama group has been running now for approximately 8 – 9 years at CCA and is run by mother and daughter volunteers, Fran and Shelly Nothard. The group meets up one evening per week and normally stages a couple of small performances each year at the Art Centre and then they concentrate on an annual Christmas Show over a 3 night run in the local theatre at ArtSpace. At present the group consists of approximately 15 young people between the ages of 8 – 21, although these numbers can change throughout the year.
Vickie Tanner will return to Craigmillar Community Arts on Tuesday 19 August for a second workshop with The ‘Drammie Dodgers’ youth community drama group.
Photos Sally Cuthbert
Letter from Scotland
Shipbuilding no more
The shipbuilding industry, the icon of Scotland’s mighty industrial past, has been dealt a shuddering, maybe fatal, blow. Fergusons, the last commercial shipyard on the Clyde, has gone bust. Some 70 men, and a handful of women, have lost their jobs. The yard has been building ferryboats for Caledonian MacBrayne but has run out of orders. It’s a blow also to our national morale as we contemplate our future in these last few weeks before the independence referendum.
Shipbuilding is one of those industries which define a nation as heavyweight. It’s about strength, skill, masculine beauty as well as commercial success and, literally, overseas prowess. The Clyde has given us great ships, from clippers like the Cutty Sark to luxury liners like the Queen Mary and the Queen Elizabeth. More recently it’s given us useful roll-on-roll-off ferries and sophisticated Type 26 frigates and parts of the new aircraft carriers.
In their heyday, 19 Clyde shipyards employed 70,000 men. In the First World War and again the Second World War they were launching a ship a day. The bigger yards, like Fairfields, would have a dozen ships under construction at any one time. The yards also produced men of steel – hard, self-educated, working class heroes, of which the famous ones ( like Jimmy Reid, Sir Alex Ferguson and Billy Connolly ) are only the froth on top of the real ale beneath.
Of course, the Clyde was not the only place that built ships in Scotland. Robbs of Leith churned out tugs and dredgers till the Proclaimers mourned their loss in 1982. Aberdeen’s Hall Russell yard built the fishing fleet that ruled the North Sea till the 1990s. Millers of St Monans built the Fifie yachts. The Buckie shipyard serviced the RNLI’s lifeboat fleet till it closed last year and its assets were taken over by Macduff Shipyards a few miles along the coast. The Macduff yard is about the only commercial shipyard left in Scotland, employing 150 staff and building small service boats for the North Sea.
The prospect of independence has cast doubt over the future of the last substantial shipyard in Scotland, BAE Systems on the Clyde, the successor of the famous Fairfield yard. It employs 4,000 people, specialising in Navy ships – currently the Type 26 frigates. But whether the remaining UK Royal Navy would continue to place orders in a “foreign” country is a matter hotly disputed.
And here we come to the heart of the matter – money and European Union rules. Foreign yards are building ships much more cheaply than Scottish yards because of lower wages and more adventurous investors. It began with Japan, then South Korea, and now Poland. Three Caledonian MacBrayne ferries have been built in Poland in recent years. It’s not only cheaper, it’s also required under EU competition law that tenders are open to all European firms and no government can unfairly subsidise its home yards.
The question the 70 Ferguson workers are now asking us is – is this an agreeable state of affairs ? Does Britain – and would an independent Scotland – get more out of the European single market than it loses ? We are sacrificing our beloved shipbuilding industry (and all its cultural muscle) and what are we getting in return ? Unfortunately the answer is quite a lot. Cheaper ships for a start. But other Scottish firms – non-shipbuilding firms it has to be said – are winning contracts in Europe. Scottish Enterprise estimates that the European market could be worth £11 billion a year to Scottish firms in fields such as whisky, salmon and shellfish, engineering, finance and the bio-sciences.
Whether we like it or not, Scotland is no longer the workshop of the world. As The Proclaimers said, Linwood cars no more, Ravenscraig steel no more, shipbuilding no more. We can no longer make things cheaper and better than other countries. The Clydeside sculptor George Wyllie commented sourly on this when he hung a straw locomotive from the Finnieston crane and floated a paper boat on the Clyde.
The challenge for us now is to create muscular jobs in the new industries of alternative energy, bio-chemistry, re-cycling, quality food and drink, education, sport and the arts. And maybe cut out for ourselves a specialised market in up-dated Fifie yachts.
Edinburgh Festival Fringe 2014 – REVIEW – The Reluctant Dragon ****
The Reluctant Dragon, theSpace @ Surgeons Hall 2:05pm, until 23 August (except 17), £9/8 (£7/£6.50 concessions)
Written in 1898 by ‘The Wind in the Willows’ author Kenneth Graeme, the story of The Reluctant Dragon is still enjoyed by young and old today, with this production being particularly pleasant.
An unusual union between a poetic dragon, brilliantly brought to life by Tom Manning, and St George, confidently depicted by Harry Ward, is created by a well-meaning girl, played by the superb Leigh Douglas. Her parents, performed by the assured Emily Thane and Ross Telfer, portray the story very well throughout, with the dragon constantly captivating everyone in the theatre.
Producer Abigail Hirst and Director Kate Stephenson (who makes an appearance at the start and end of the tale), have proficiently utilised the performance space, constructing a mix of classic storytelling, song and puppetry. Not Cricket Productions have created a family treat which certainly does not drag-on…
Edinburgh Festival Fringe Review – The Rap Guide To Religion *****
Baba Brinkman’s primeval soup-stirring Fringe First Winner, A Rap Guide To Evolution (2009), really did have the egg/chicken first debate chasing its own tail-feathers around a mobius strip of perpetual conjecture. Either cast as the Bible Belt Devil incarnate or being celebrated as Richard Hawkins in da hood, the show toured extensively and roused both passionate and rigourous discussion. So, just to stir things up a little more, he has chosen to frame his latest conceit – or, as some will have it target, that of the origin, meanings and, heavens’ forbid, contemporary relevance of Religion.
Promising in pre-show gossip that, ‘I include no Theology because it is not a guide to anything but itself,’ and true to his word, the entity of God as the omnipresent deity hardly gets a look in during this devilishly insightful and dazzlingly witty show (He/She may well have been taking notes mind).
A trinity of TED-talk, comedy and performance Rap, Brinkman, helter-skelters through a discourse on the evolutionary necessity of organised religions and concludes with the volatile thesis (for some, say half the planet) that it is becoming redundant. Where now the need for Classical Pantheism that informed the rise of humanism through the Renaissance?
With over 10000 religions coming and going throughout the rise of Civilisation, Brinkman’s argument that is that the former declined, and continues to decline, because of the latter. Never an atheist’s polemic, Brinkman’s canny pluralist tolerance (just!) eschews easy targets for ridicule or moral castigation – though a brief glance at TV breaking news might give him leave to choose otherwise. Drawing on a number of psycho/sociological research papers – no, don’t run away – they are highly engaging, honestly, he illustrates, for example, that there is a direct correlation between religious observation/worship and higher birthrate within those cohorts.
That incremental degrees of misfortune leading up to disasters – the perception of harm – has correalation with a higher belief in the probablity, even inevitability of divine intervention by means of explanation. Even when Science has already filled the gaps.
His Rap to Calvinist ancestor, Andrew Murray, and his fecund progeny across the Transvaal make for fascinating listening – with the closing coda riffing to the repetitive line – “I have a preacher’s blood with a scientist’s brain’. The closing Rap on the evolutionary importance of tribal worship and that of fertility symbolism took on a hypnotic trance as he moved between light and dark around the auditorium. It is clever, it is smart – sincere and beguilingly convincing. Provocative? Oh yes, devilishly so.
A Fringe must see.
Gilded Ballon. Venue 14. 14.30 1 hr. £10.50 (£9)
Edinburgh Festival Fringe 2014 – REVIEW – First Class ****
First Class, Laughing Horse @ Espionage 12pm, until 24 August, Free
Arriving at the atmospheric ‘Pravda’ platform in Espionage is First Class, a combination of emotional journeys set on a train journey to create an overall poignant, memorable journey for all concerned; as you might be able to tell, there is a lot of travelling.
Having said this, what initially appears to be just one journey soon transpires to be multiple expeditions during different decades, with much more than just a physical destination being reached. This engrossing exploration of numerous themes emphasises how life’s struggles are dwelled upon and the stark reality of the effects people, pressures and negative circumstances can have.
This Aulos Productions and Relief Theatre production recently won Best New Writing at the Buxton Fringe 2014, and it’s clear to see why. Sharp, interconnecting dialogue is delivered impeccably by Erin Elkin as Lydia, Joe Walsh as Jack and Maddie Haynes as Rachel, who have evidently invested a lot of time into encompassing their own characters but work very impressively together to create the trio of trips.
Upon alighting from the performance, some of the audience were evidently drained; one woman was in tears. This is a unique, meaningful piece of drama which showcases three skilful talents and is definitely worth a ticket, even though this is a free, non-ticketed event!
Police Scotland can confirm that a 26 year old man has been arrested and charged with two indecent assaults which took place in Livingston on 8th April, in Scott Brae, and 7th May in Orchard Place.
He will appear at Livingston Sheriff Court tomorrow.
Detective Chief Inspector Phil Gachagan said: “Incidents like these are very rare but have a serious impact on the fear of crime in the community. We were very aware of the tension and worry these crimes caused in the Livingston area. Our dedicated enquiry team carried out a thorough investigation involving a large number of individual enquires which has resulted in today’s arrest.”
“I’d like to thank the public for their patience and support while we carried out enquiries, particularly those who contacted police and came forward with information that assisted the investigation.”
New seats and bins for Figgate Park
Locals want picnic tables, extra seating and new litter bins to be placed in the Figgate Park on the south side of the city.
The results of the recent survey have now been collated and the council will produce a new management plan to offer an overarching direction for the important green space. The Environmental wardens will be roped into a new campaign to combat dog fouling in the park.
In addition there will be plans for new planting across the park and for the removal of litter at the Duddingston end of the area.
The council has already fitted mesh to the boardwalk to improve the walking surface and has repaired holes along the viewing platform. Plans are being submitted to request upgrading of the play area and events have been held there by the Friends of Figgate Park to highlight the amenity of the area.One of the most popular events this year was that held by Portobello Library when librarian Paul entertained about 70 children with his stories.
Councillor Maureen Child said: “I love Figgate Burn Park too, for all the reasons people give in their feedback. It shows what a really active Friends Group with lots of active volunteers can achieve in Partnership with Council staff.”
Alex Lunn’s photo of Figgate Park
Councillor Alex Lunn is certainly someone who enjoys the park. He said: “The best thing about Figgy Park is that it’s a great place to walk and it brings you close to nature.
“This picture was taken by me just last month while enjoying a walk in the park with my mate one evening.”
A survey of Figgate Park users was undertaken in April 2014 in order to collect key information that would contribute to the new Figgate Park management plan.
The majority of those who responded to the survey had visited the park along with their families and most use it to have a walk or watch the wildlife although a third of the respondents used it to walk their dogs. And afterwards? Most of them just go home – but say they feel very much more relaxed when they do.
But though the park is well enough used and some people say that the improvements to the boardwalk have made a huge improvement, there is also a strong view that it could be even better. The park has retained its green flag status over the last five years, but locals think this is no reason to be complacent about the future.
The park, situated off Duddingston Road and behind Northfield Drive, was acquired by the Council in 1933 from the Abercorn Estate. One of the key features of the park is the Figgate Burn and pond. The burn is crossed by several bridges, providing pleasant recreational walking routes.
Just the other day this photo was taken of the swans who use the park swimming in the rain:
The wonderful work done at Muirhouse is being rewarded by yet another shortlisting for a national award. We think this is fabulous news. Their article tells you all about it here.
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Gambado, Edinburgh’s biggest indoor soft play and party centre at Fountain Park is launching the first of its monthly ‘Big Clear Out’ events on Sunday 31st August, from 9am till 11am, to help raise funds for its affiliated charity SiMBA, Simpson’s Memorial Box Appeal.
The event, perfect for people who either want to have a clear out of items including clothes and toys which are in nearly new condition, de-cluttering or looking to make some money, will run on the last Sunday of every month.
The cost to take part is £15 per seller, with £5 going to SIMBA. The event is free to everyone hoping to snap up a bargain and for those bringing kids along there will be a reduced ‘shop and play’ fee of £5.
Chris Hairs, General Manager at Gambado Fountain Park, said: “We are delighted with the interest already shown in this event not only from people wanting to make more space at home with a big clear out but also by those who are keen to get on board and help us raise much needed funds for this incredibly worthwhile charity.”
SiMBA, which is very close to the hearts of the staff at Gambado, was chosen as their charity of the year to raise funds for in recognition of the amazing work they do supporting people who have been affected by the loss of a baby. Over £2,000 has been raised since the beginning of the year with various activities and event including a team from the centre taking part in Kiltwalk and a hugely successful Easter event.
Sara Fitzsimmons, SiMBA director, said: “This sounds like a fantastic event with a great opportunity to have a clear out and to raise money for our charity at the same time. The ongoing support from the entire Gambado team has been amazing – we feel very honoured to be their affiliated charity and can’t thank them enough”.
To book a space at the event, please call 0131 202 3566 or email edinburgh@gambado.com and check out Gambado Edinburgh Facebook for more details.
Gambado Fountain Park boasts everything from slides and ball pools to an imagination station and gated sensory area for toddlers. It also features an innovative climbing wall for young daredevils and an impressive 31-seater traditional carousel.
Opening times until 24th August at Gambado are Monday to Sunday, 9.30am – 5pm and thereafter Monday to Thursday, 9.30am – 5.30pm, Friday, 9.30am – 6.30pm and Saturday and Sunday, 10am – 6pm. Prices start from £3.95 per child.
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Today at Edinburgh Art Festival
Join us at the Edinburgh Art Festival Kiosk every lunchtime during the festival for a free guided tour of parts of our programme. Led by our volunteers, our tours are a great way to find your way through the city and the festival. All tour routes are flexible and can be altered depending on your interests; if there’s an exhibition you really want to see just ask and we’ll try to fit it in.
This tour explores work by artists whose work crosses the boundaries between music, performance and visual art in galleries around the city centre.
Edinburgh Art Festival Kiosk Located on the corner of George Street and Frederick Street, EH2 3E
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The council is determined to reduce the amount of waste sent to landfill. They have a new system with smaller bins for general waste and more room for recycling being rolled out on 1 September.
Watch this video to understand where your rubbish goes:
Dovecot Studios will advertise the Apprentice Programme to recruit three new Apprentice Weavers over the course of the next three years, continuing a 100 year old tradition of collaboration with contemporary artists and designers.
Dovecot’s three year Apprenticeship will be open to applicants over the age of 16 offering a unique opportunity to learn from Dovecot’s Master Weavers. As a world leader in tapestry weaving, Dovecot Studios is dedicated to the continued development of this highly skilled art form, ensuring that this continues to thrive; nurturing innovation in new tapestry weavers who will carry the medium forward for future generations.
The Apprentice Programme sustains the lineage of Dovecot tapestry weaving as an essential feature of Scotland’s creative community. Through hands-on learning experiences, the exceptional skills of this art form are passed from Master Weaver to Apprentice, building expertise for the future. Following the successful completion of the three year Apprenticeship, the aim for the Apprentice is to remain part of Dovecot’s weaving team and to continue a career progression in the Studios to Junior Weaver, Weaver and then, following 10 years weaving experience, Master Weaver.
A Dovecot Apprenticeship covers technique, design practices and artistic collaboration. Dovecot aims to maximise the Apprentice’s creative and intellectual potential by developing individual strengths and a design philosophy, gaining an understanding of the professional context and practice of tapestry and rug making. Apprentices work in a studio setting alongside fellow weavers and are encouraged to build a personal creative identity and aesthetic vocabulary informed by historical, cultural and technical knowledge and by the practical experience of making textiles and collaborating with leading contemporary artists.
David Weir, Director of Dovecot Studios, commented:
‘Dovecot’s Apprenticeship Programme is an important new phase of learning and development for the Studios, growing our expertise for the future. It builds on the successes of the past ten years in re-establishing Dovecot as an international centre for the creation of contemporary tapestry in Scotland. The legacy of those founding weavers whose ethos of the artist craftsman, so valued by William Morris, is as relevant in today’s fast paced technological world as it was at the beginning of the last century’.
Film review – Wakolda (Lucía Puenzo, 2013)
In almost every scene of Lucía Puenzo’s chilling Wakolda, the foreground is overshadowed by the looming Argentinian mountains in the distance. This overpowering vision is akin to that of the film’s subject – a war criminal, pleasant if unexplored, but hiding something altogether more abhorrent.
In Argentina, a family reside in their currently empty hotel by a great lake, eager to relax in to the beauty of their surroundings. A traveling doctor follows them, asks for a room and becomes company to them, insisting he does everything to help their medical ailments. His secrets are unknown to almost everyone.
Puenzo’s latest work documents the life of a runaway Josef Mengele, one of World War Two’s most infamous war criminals famous for experimenting on children and the disabled during the war years, dubbed ‘The Angel of Death’. Set 15 years post-war in 1960, the man has resumed an assuming and almost normal presence, if not for his ink-riddled diaries, full of anatomical sketches of the most absurd, twisted kind.
It’s execution is beautiful in many respects. Cinematographer Nicolás Puenzo layers a cold, noir like filter over the story, delivering stunning wide shots of snow laden Argentina, as well as intimate shots of freckled faces and bruising skin. Very few cinematographers succeed in portraying either of these, Mr Puenzo does a gorgeous job of both. The cast deliver great performances individually, especially young Florencia Bado as the object of Mengele’s persistent experiments, whose subtle embrace of her own juvenility echoes the effortless performance of Ivana Baquero in Guillermo del Toro’s Pan’s Labyrinth.
It does, at times, enjoy nudging the viewer on the arm and letting them know this man is actually evil. What should be subtle is sometimes a little condescending, translating into ITV daytime drama rather than a serious war film as it veers of the path it’s trying to follow. However these encounters are thankfully a rarity.
Twisting and deceptive, Wakolda unfolds like a platonic, biological Lolita. Bleak, chilling and hard to shake, Puenzo’s adaptation of Josef Mengele’s infatuation with experimentation and the body is as powerful and uncomfortable as you would expect.
Wakolda opens at Filmhouse, Lothian Road on Friday 22nd August
COMPETITION – Win two tickets to Kiss me, Honey Honey!
Grant Stott and Andy Gray are favourites at the King’s Theatre panto at Christmas. But this Fringe they are giving their Kiss Me Honey Honey show one last outing.
You can win two free tickets here. The show opens tomorrow so our competition will be fast and furious – you have till Monday at 12 noon to send in your answer. The tickets will be for a show between Monday and 24 August 2014. There are no shows on 21 & 22 August. Click the link below to buy tickets.
Watch our video interview with the pair who went with us on the Edinburgh Tram for their first tram journey! They performed excerpts from the show and chatted to The Edinburgh Reporter about it.
A special charity screening of Good Will Hunting is to be shown as part of the University of Edinburgh’s outdoor cinema series in the Old College quad, run in association with Edinburgh International Film Festival.
The acclaimed film is being shown to celebrate the life and work of the late Robin Williams, who won an Oscar for his role as psychologist Sean Maguire. All proceeds will go to the Scottish Association for Mental Health (SAMH)
Quirky romantic comedy Amelie and 1940’s classic Casablanca have also been added to the programme.
Good Will Hunting (Cert 15, 1997), 19 August – 9.20pm
A special charity screening of Good Will Hunting in aid of SAMH. Robin Williams won an Academy Award for Best Supporting Actor for his role as Sean Maguire, a psychiatrist who helps Matt Damon’s brilliant but troubled young janitor.
Bursting with imagination, Amelie is not like the other girls. Discovering that her goal in life is to help others, she invents all sorts of tricks that allow her to intervene incognito into… other people’s lives, including an imbibing concierge and her hypochondriac neighbor.
The classic and much-loved romantic drama Casablanca, always found on top-ten lists of films, is a masterful tale of two men vying for the same woman’s love in a love triangle. The story of political and romantic espionage is set against the backdrop of the wartime conflict between democracy and totalitarianism.
Full listings for Film in the Old College Quad can be found here: www.ed.ac.uk/festivals
Tickets cost £5 per film (family matinees are free) and can be booked via the Edinburgh Festival Fringe website.
Film in the Old College Quad, which will take place from 17 to 23 August, is presented by the University in association with the Edinburgh International Film Festival.
Produced by Unique Events.
Quick eats and tasty treats at Edinburgh’s Festivals
Festival season is well underway and it’s all rather hectic! With so many things to see and do you may find you don’t have a lot of time to think about eating so here are our pick of the best outdoor bars, pop up venues and places to grab a quick bite in between shows.
Everyone loves the Pleasance and with 16 spaces for acts to perform it’s got a lot going on. Many people hardly leave this fringe staple – it’s not hard to understand why. You’ll feel right in the heart of the festival here, with plenty of famous comedians to spot, and there’s a dedicated kid’s zone section too. Food is served from a number of stalls and the usual student cafe options stay open late to cater for everyone.
Another festival spot to sit out and enjoy the sunshine and to be honest it’s my favourite place to sit and soak up the atmosphere. It is run by Assembly, and home to eleven of their venues – you can surely find something fabulous to go to! Plus the bonus is that there is loads of space settle down for a pre or post show drink with friends in their outdoor bar area. There are some fantastic food options available here – try the nachos with pulled pork and homemade guacamole from the Mexican Kitchen, Fabulous Pad Thai at BKK or the Sweet Potatoes at Scoop.
George Square, EH8 9LH
Pad BKK
St Andrew Square and George Street
Full of great options and some fabulous street food from Nusou and also Henderson’s you can relax in the Gardens on stripy deckchairs, do a spot of shopping and take in a show! Festival sorted. The Assembly Rooms is the biggest venue hosting some really big names but don’t forget to head to the Stand Comedy Club too to see some old favourites and new faces taking their turn on stage.
‘You just head down the road and turn right and the big purple upside down cow!’ The tourists looked at her like she was a nutter… no honestly I am not joking! It’s a festival favourite hanging out at the cow on Bristo square before going to see one of Underbelly’s comedy acts. We can recommend heading to Stocks for a proper burger – the cheese and bacon is my favourite!
During August the Gilded Balloon take over the massive and labyrinthine Edinburgh University Student Union building in Bristo Square – meaning anyone can get in, no student card needed. They have nine performance spaces and bars and a café open all day, serving a wide selection of food and drink. There’s also a beer garden, juice bar, crepe stall and food area.
Summerhall are open all year round and are the site for many other festivals and shows including the Science Festival and host creative and performing arts shows. They do go the extra mile in August with their outdoor bar in the courtyard, which is often the centrepiece of some of the theatrical performances. They have a Pickering’s gin tent and serve their own Barneys beer both of which are brewed on site and La Favorita serve wood fired pizzzas from their van. Make sure you try their set menu in the Royal Dick bar which is excellent vale at just £13.50 for 3 courses and features dishes such as scallops and black pudding, followed by duck breast and dauphinioise and blood orange zabaglione for desserts.
Started as a temporary street venue in the summer festival – Ting Thai was so popular that they decided to stick around. If you’re looking for friendly service and great Thai-style street food then look no further. Ting Thai’s interior is minimal and industrial, the music on the playlist is always good. Try the bubble prawns and Pad Thai – awesome!
This is an Edinburgh institution! Offering generously sized dishes of tasty Indian food with no frills or pretension. A perfect choice if you’re around Bristo Square and you’re looking for a more reasonable alternative to the Fringe food vans – Curry in a Hurry and my word is it good!
For simple but wholesome veggie food, Henderson’s is hard to beat. One of the first vegetarian restaurants to open in the UK, it has gone from strength to strength, with a restaurant, shop and bistro on Hanover Street, a café at St John’s church at the corner of Princes St and a fringe outlet in St Andrew Sq. They do take out sandwiches, wraps and cakes, sit down meals in the cafes and proper restaurant food in the downstairs bistro (book in advance for this).
A really great Mexican lives in this tiny little restaurant on Leith walk. Choose from well-priced burritos, fajitas, quesadillas and tacos. A little off the beaten festival track but still worth a mention! .
The menu gives a really great selection with around a quarter of the dishes vegetarian or offering a vegetarian option. The theme is Indian road and railway street food as eaten by the real tuk tuk wallahs. They suggest 3-4 dishes per person as they are served in smaller size portions, and that was definitely more than enough for us. The bright orange entrance and Bollywood movie posters are a great backdrop match perfectly by the eclectic Indian inspired music. Tuk Tuk is how Indian food should be and its BYOB – perfect for groups before a show.
A local favourite on Lothian Road since opening in late 2012. The Hanging Bat is a perfect spot for those looking for a quick bite to eat – they offer a selection of North American style dishes such as pulled pork, nachos and a fine selection of hot dogs – try the Alsation. All this tasty food can be washed down with a selection of craft beers with over 20 on draft and their own brewery on show through the glass walls at the back.
133 Lothian Road, EH3 9AB
Have we missed anywhere you love – let us know!
EIFF Short film event today
EIFF is delighted to announce the screening of the first EIFF Short Film Challenge which will be held on Saturday 16th August at Filmhouse. The shortlisted films will be screened after which a guest Jury will be awarding winners of the challenge prizes.
EIFF Short Film Challenge is a brand new short film compeition launched by EIFF in 2014.
Twelve finalists have been selected by EIFF programmers and the shortlisted films will be screened at Filmhouse in Edinburgh later today. A specially selected jury will attend the screening and announce the winners at the end of the event.
Alongside the shortlisted films, we will be screening EIFF 2014 Short Film Award winners The Bigger Picture (Daisy Jacobs), Monkey Love Experiments (Will Anderson and Ainslie Henderson) and My Stuffed Granny (Effie Pappa)
The winner of the Best Film Award will also receive an all expenses paid opportunity to attend Encounters Short Film & Animation Festival in Bristol in September 2014.
Encounters Short Film and Animation Festival is the UK’s longest running competitive short film and animation festival. It presents one of the world’s best-known showcases and meeting points for emerging talent, and seeks to promote the importance of short film as a means to develop the next generation of filmmakers and animators – See more at: www.encounters-festival.org.uk
The EIFF Short Film Challenge screening is a free ticketed event. To book tickets please see: www.filmhousecinema.com/
Film Review: Effie Gray (2014) at the Scottish National Gallery
Until late September, the impulsive, almost scintillating work of English artist and art critic John Ruskin, is being displayed the National Portrait Gallery in the exhibition, ‘Artist and Observer’. In celebration of this, National Galleries Scotland invited director Richard Laxton to bring his much anticipated and consistently delayed feature, Effie Gray, to the city. After several attempts to release it and intrusive copyright claims getting in the way, Effie Gray met its first public audience in Edinburgh rather than Cannes. In front of a packed out crowd of art lovers in the National Gallery’s Hawthornden Lecture Theatre, eager to delve into the life of Ruskin’s wife and inspiration, that he grew apart from so quickly.
In 19th century Scotland, an artist and his significantly younger partner wed, moving to his parent’s English home where she is exposed to greater riches and high society. As her husband works in his own space, the young woman soon realises that this societal shift will change her attitudes and expectations in life.
Effie Gray is a deftly crafted period drama that flourishes in the hands of its screenwriter and co-star, Emma Thompson. Often, her unique wit and intelligence shines clearly on screen even when she isn’t there. She’s a wonderful wordsmith, bringing issues to what could be a rather dreary, overdone idea and injecting it with great life. The story follows the couple through their wholly depressing relationship. The eponymous character lives a life of lustrous riches whilst appearing wholly unsatisfied, allowing the viewer to delve into a 19th century film that doesn’t all revolve around a ball room and grand dinner table. In its more quiet moments, it can grow slightly lethargic almost grinding to a halt. But this relaxation makes you notice the finer details that appear in its beautiful shots.
Starved of intimacy and the freedom to do as she pleases, Dakota Fanning delivers a grower of a performance in the film’s lead role. She starts off slightly wooden and cliched and yet, over time embodies her character both physically and mentally, appearing glassy eyed and emotive by the time the credits roll. Her accent is distracting though, leaving us wondering if her Scottish attempt could’ve been that bad?
Effie Gray may be rather sombre and bleak, but its execution is so beautiful that it’s apparent flaws can be partially forgiven. This is period drama that ventures outwith the usual tackiness of sweeping romance.
The John Ruskin is currently open at the National Portrait Gallery, Queen Street. Effie Gray opens in UK cinemas in October this year.
Five things you need to know today
Custom House Leith
Lily Allen to headline Hogmanay
Sheraton is very grand!
Craig Hill sweeps Edinburgh’s streets
Your reviews
The council will ratify the decision to purchase Customs House in Leith when it meets next week. The building will cost £650,000 and it is proposed that the council sets it up as a museum. The problem is that the council have not yet quite finalised the plans for the building, but they had to go ahead and buy it anyway as it was seen to be a one-off opportunity. So if the negotiations which the council is having with third parties to decide upon the use of the Custom House are not concluded by next spring the council may be left to carry the expense of renovations.
Councillor Richard Lewis will chair a project group to oversee the future proposals. There are clearly financial risks in this strategy, but if the council have paid only market value for the building, as stated in the report, then even if they had to sell the building on, it appears that they are starting from a reasonable position.
That has to be balanced against the risk of losing the building for the community in Leith who are desperately keen to establish a museum. If the council had made a conditional offer for the property then National Museums Scotland would not have accepted it and would instead have placed the property on the open market. This is part of the flagship projects envisaged by the Tourism BID, one of two being established in the port.
The price will be paid from the Common Good Fund which currently has a balance of £1.6m.
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Pop superstar Lily Allen will headline Edinburgh’s Hogmanay 2014/15 ‘Concert in the Gardens’.
Hogmanay headliner Lily Allen
The concert is organised by Unique Events on behalf of the City of Edinburgh Council.
This special headline show will end a spectacular year for Lily Allen and will be the final show of her 2014 world tour.
On her headline appearance at Edinburgh’s Hogmanay, Lily Allen has said: ‘I’ve always wanted to spend Hogmanay in Scotland so the fact that I get to do it this year but performing onstage in front of a whole load of people up for the best time makes it extra special. I can’t wait.”
Lily Allen at the Concert in the Gardens includes very special guests to be announced, set beneath the dramatic backdrop of Edinburgh Castle and the spectacular Midnight Fireworks, broadcast around the world and showcasing Edinburgh’s Hogmanay as one of the biggest and best New Year parties on the planet.
Councillor Steve Cardownie, Festivals and Events Champion for the City of Edinburgh Council, said: “Edinburgh’s Hogmanay has long been the envy of cities across the globe and the celebrations to bring in the start 2015 are set to be no exception. Headliner Lily Allen is sure to be a big hit with revellers, and coupled with an absolutely spectacular fireworks display, we are aiming to yet again bring together and entertain thousands of people as the capital brings in the bells.”
Pete Irvine, Artistic Director of Edinburgh’s Hogmanay, said: ‘We are delighted to announce Lily Allen in this the final week of the Edinburgh Festival Fringe. Lily’s had a great year headlining at festivals and playing all over the world. Edinburgh’s Hogmanay is THE New Year party, Lily is THE party girl.’
Recently listed as the only event/festival in the ‘Discovery Channel – Top 25 World Travel Experiences’, Edinburgh’s Hogmanay is recognised globally as one of the world’s best New Year celebrations and last year welcomed visitors from over 60 countries to celebrate at the ‘Home of Hogmanay’.
Over three-days of spectacular free and ticketed events in 2013/14, audiences of over 130,000 joined the celebrations, with 5 of 6 main ticketed events sold-out before the 31st December.
How to buy tickets
Revellers can purchase tickets for Concert in the Gardens and all other Edinburgh’s Hogmanay events including Edinburgh’s Hogmanay Street Party, The Keilidh at the Street Party, Torchlight Procession and Concert in St Giles’ Cathedral from 10am Friday 22 August through
By calling Edinburgh’s Hogmanay Box Office on 0844 573 8455 or by calling into the Hogmanay Box Office at The Fringe Office, 180 High Street, Edinburgh.
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The Sheraton Grand Hotel & Spa has been voted Scotland’s Leading Hotel in the World Travel Awards for the second year running. These awards are nominated by travel and tourism professionals worldwide and this accolade recognises the Sheraton Grand’s commitment to excellence in the past 12 months. Hailed as ‘the Oscars of the travel industry’, World Travel Awards is acknowledged as the ultimate travel accolade that aims to celebrate those organisations that are pushing the boundaries of industry excellence.
Tristan Nesbitt, General Manager at the Sheraton Grand Hotel & Spa said: “To win this award for the second year running is exceptional recognition for my team. This award is voted by our clients and guests so is testament to our warm welcome and high levels of Scottish hospitality with excellent service. We look forward to building on this success and continuing to welcome our travellers and Edinburgh locals who remain loyal to the Sheraton Grand.”
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Fringe stalwart Craig Hill kept it clean when he helped City of Edinburgh Council’s street cleansing team spruce up the capital during the Festival.
Craig Hill helps street cleansing staff spruce up the city.
The comedy veteran and Edinburgh resident pitched in to help the local task force tackle one of the summer’s busiest spots, against the familiar backdrop of his own promotional posters at Middle Meadow Walk.
Craig is one of hundreds of performers to be promoting their shows using the Council’s official advertising, which for the first year will generate thousands of pounds towards keeping the city clean during the festival.
The scheme, now in is in its fourth year, dissuades illegal fly-posters by providing alternative advertising opportunities, saving the Council up to £350,000 on the cost of cleaning away flyers and posters.
And now, for the first time, revenue from the advertising contract with print and distribution company Out of Hand, in partnership with Edinburgh Festival Fringe Society, will be ploughed back into keeping the city beautiful for residents and visitors.
Money gained from the contract to advertise on Council-owned assets will be used to fund additional street cleansing and litter capacity over the busy festival period.
Environment Convener, Councillor Lesley Hinds, said: “Last year’s Fringe Festival Advertising proved a real success so now it’s great to be able to harness this to help keep our city beautiful for everyone.
“Edinburgh Festival Fringe is an amazing experience for performers, visitors and people living in Edinburgh, but it has an undoubted impact on the city’s environment.
“That’s why we’re glad to be able to work with Out of Hand and Edinburgh Festival Fringe Society to provide a solution benefitting both citizens and those making the most of this world-famous festival.”
The City of Edinburgh Council’s outdoor advertising poster project, delivered by Out of Hand, provides different styles of advertising on around 900 Council-owned assets throughout the city, including wrap-around lamp post advertising and tower columns.
Revenue gained from advertising of performances during the period will fund operational costs associated with the Fringe.
Amongst these measures are the employment of more than 70 temporary street cleaners to patrol the city’s streets to tackle litter resulting from increased footfall and a batch of extra large bins, to be located in some of the city’s busiest areas to cope with the rise in rubbish.
Comedian Craig Hill added: “Edinburgh is so gorgeous I’m really pleased that one of the Council’s priorities is keeping it clean because it’s too beautiful a city to mess up!”
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If you have been to see something side splittingly funny or a show which made you think then do share your reviews with us. The EdinburghReportage site has an Edinburgh Festivals page which is waiting for your views.
The Festival of Politics kicks off with a fiscal focus
If “Balancing The Books” were a Fringe event, you’d walk in and find face-painted jesters gleefully and precariously posturing paperbacks on their noses, foreheads and any other suitable extremities.
An audience can only dream. No such theatrics were found at the Festival of Politics panel discussion at The Scottish Parliament this afternoon—but the physical fireworks were made up for by dazzling rhetorical performances by the assembled speakers, tackling the fiscal uncertainties surrounding the independence referendum and responding to audience questions and concerns.
The three panellists’ opening remarks immediately set the tenor of the following 90 minutes: a no-frills, participatory panel starring a hard-nosed activist, a diligent academic and a seasoned economic journalist. (Email us if you have a good “So-and-so walk into a bar” joke about such a posse.)
From left to right: Robin McAlpine, Charlie Jeffery, Paul Johnson and Bill Jamieson. Photo by Noah Caldwell
From the social-democratic wing, Common Weal’s Robin McAlpine pointed out that it is a fundamental flaw of many in the current campaign to consider Scotland’s future in terms of its past. A combative – yet extremely well-informed – advocate of Scandinavian-style public spending, McAlpine admitted that raising taxes won’t achieve the social safety net dreamed of by many in his camp. Instead, higher, more equal pay and an industrial economic policy that increases productivity (Britain’s is 16% lower than most developed countries’) will ensure a greater tax base by default. The key? Structural change led by strong public services.
Economist Paul Johnson, director of the London think-tank Institute for Fiscal Studies, purposely approached topics from a UK-wide context. What do the long-run numbers tell us? (We’re talking about the “Books” here, after all.) What can we see from the hinterlands beyond September 18? (Panel chair Charlie Jeffery of the University of Edinburgh later extolled Johnson for his prolific 50-year projections, which I assume is a compliment in the world of fiscal policy.) In a sidelong dig at McAlpine’s dream of a high-wage Scotland, Johnson dutifully pointed out that the UK hasn’t given up on wage increases, it simply doesn’t know how to do it. And that pesky long-run? In a strict numbers game, as the retiree population grows, health spending follows. Currently, one-third of all public spending goes toward health—soon, it will be half.
Journalist and commentator Bill Jamieson was introduced by Jeffery via a “lugubrious” quote from his recent Scotsman article, which essentially foresaw a bleak economic landscape post-September 18, regardless of the outcome. Upon finishing the depressing citation, Jeffery slyly ribbed, “So, Bill, how’s it looking now?”
As chuckles subsided, Jamieson cut through the melodrama: a larger, more involved state actor is nothing without efficiently prioritised public spending. From 2000-2010, Scotland enjoyed a 60% overall increase in public spending (and still has higher per capita spending than the rest of the UK), yet myriad problems persist—the same issues (poverty gap, land ownership, homelessness, etc.) prompting Yes activists to call for higher public spending. The two guides out of this fiscal wilderness—or, as Jamieson called them, “lamp-lighters”— are the Independent Budget Review from 2010, and Jo Armstrong’s work on the efficiency of Scotland’s public services. (Invoking the former, Jamieson got quotational revenge by citing Jeffery’s own comments on questioning Scotland’s uneven allocation of subsidies to various social groups; “Touche!” Jeffery responded.) A thorough journalist accustomed to poring over tomes, Jamieson implored the audience to find the two documents downstairs in Parliament’s library—a homework assignment that I’m unsure was accepted by the majority in attendance.
It didn’t take long for the open question period to lead to the Golden Goose of the referendum campaign: currency and debt. “Well that’s an easy one to answer!” offered Jeffery. “Paul?”
Johnson took a swing at the question of whether or not Scotland should pay its portion of the UK debt upon a Yes vote. Scotland will hold the cards, in such a case, he pointed out—and, legally, an independent Scotland can’t be forced to pay its share of the debt, which is an automatic trump card in post-Yes negotiations (is it fitting or worrisome that the economist used the most gambling metaphors?). The problem, of course, lies not with the legal motivation to pay the debt—an estimated £120 billion, costing £4 billion in interest every year alone—but in the perception of Scotland by the international community. If Scotland chooses to renege on its share, foreign lenders may shy away, or increase interest on the loans that are enacted.
The buck was passed to McAlpine, who claimed that a post-Yes Scotland should pay its share—but it should be dubbed a “British Aid Payment.” The ensuing laughter topped any audience response so far, but a macabre undertone lurked beneath: if you admit that the UK is in such shambles that it needs foreign aid, you might need to come to serious terms with that sentiment upon a No vote next month, which seems more and more likely.
The next jab came not from the panel, but from the audience. Addressing the pay gap between men and women, a participant pointed out that the panel was entirely composed of men—something she had noticed at last year’s Festival of Politics, too. Thankfully, Jeffery was quick to acknowledge that a female panel member was on the books until a few days prior, when she pulled out (mercifully, it wasn’t mentioned who among the current three was a last-minute replacement).
The panel approached the gender gap problem in economic, not social terms. Equal participation by both genders would be more of a boon to the UK and Scotland than nearly any other economic influx, said McAlpine, adding, “The oil will run out. Here’s to hoping that the women don’t.” (It’s worth acknowledging that this and the British Aid comment decisively won McAlpine the Most Humourous Panelist award, if that counts for anything.) Women tend to find more part-time work, according to Johnson, but in the public sector fare far better than in the private sector—a bump for those (ahem, McAlpine) fighting privatisation.
The panel finished with a curt discussion on the weapons at Trident (a moral question for Scots, according to Jamieson), nationalisation (or “collective ownership,” as McAlpine likes to call it) and the NHS. (There is a paradox inherent in Scottish health care: more is spent on health in Scotland than the rest of the UK, but a high level of complaints persists. Would this improve if it were outsourced? Cue a return to the debate over privatisation in three, two, one…
If you missed this joust, don’t fret. The Festival of Politics continues throughout the weekend, culminating on Sunday with discussions on EU Membership and Immigration (surely, those won’t get heated). If the Fringe is more your thing, have no fear as musical acts intersperse the lectures and panels, if you need a break from the heady content here and there.
Edinburgh Festival Fringe Review – Tim Vine *****
Timtiminee, Timtiminee, Tim, Tim To You
It’s hard to believe it’s nearly 20 years since Tim Vine lifted the Perrier Newcomer Award at the Edinburgh Fringe Festival. Back in 1995, Vine was a fresh-faced stand-up comic who delighted his audience with his quick-fire repartee.
Vine has matured into one of Britain’s leading comics and now, two decades later, one has to queue for at least half an hour round the Pleasance Courtyard to wait patiently to gain entry to see the great man in action. But that’s what devotees of the star of BBC’s Not Going Out are more than happy to do for they know what to expect – an hour of non-stop gags, puns and old-fashioned comic delivery.
Tim Vine’s shows this year have all been sold out. He’s a regular performer at the Edinburgh Fringe and I suspect the majority of his adoring audience will have seen him several times before in Scotland’s capital city – and keep coming back for more.
Now it may be something to do with my age but I find some of today’s so-called comedians about as funny as a trip to the dentist. Tim Vine is a throw-back to an age when comics would deliver gag after gag and invoke hoots of laughter. There’s none of the observational comedy which is the trademark of some other stand-ups – Vine’s show is 60 minutes of non-stop classic joke-telling. Yes, some of his puns – okay, all of his puns – bring groans from the audience. But that’s why they’re there – to hear the old puns and jokes and just plain daft routine that has them doubled up with laughter.
This is the third time I’ve seen Tim Vine in Edinburgh and I felt my jaws ache having laughed so much. His humour is simple but hilariously effective. His show runs at the Pleasance until 24 August. If you haven’t seen him yet this year – or have never seen him at all – you may be out of luck as the only chance of getting a ticket is through returns. If you can’t get a ticket I can only say you have missed one of the best stand-up comedians in the country right now.
Jo Burke, Jacqui Curran and Gemma Layton come together to create a joyous blend of comical sketches which had the audience in stitches from start to finish.
A funny festive opener leads to more hilarious material, some of which is outrageous yet well-considered, pushing the boundaries of what you might expect from the quaint, colourful flyer artwork. A Downton Abbey-esque recurring spoof is a particular highlight, with the trio’s use of props commendable.
The venue may be a slightly sweltering ‘standing-room-only’ affair, but this just gives you more reason to get there early. Before the show, Gemma Layton appears in ‘Mercedes Benson Presents… The Pleasure is Yours’ in the same venue at 2:30pm.
Edinburgh Festival Fringe Review – Andrew Lawrence *****
This show is a must see without a doubt but if you are going to see it I recommend you turn up on time….more of this later.
Lawrence starts off his show by explaining that he came up with the title “Reasons to Kill Yourself” back in April of this year. He mentioned the sad death of Robin Williams earlier this week and said that he felt he needed to. The comedian made some jokes but only to emphasise his show name was thought up months ago. We were then treated to an hour of great comedy by a man who is a storyteller keeping you in suspense all the way through.
Lawrence uses as his subject matter a number of mundane topics like work, being force fed and his birthday.
After about 20 minutes he finished off one story by picking out the people who turned up ten minutes after the show started which earned him a loud cheer and plenty of applause from an audience who agreed with him.
Lawrence talked about giving up the stand up circuit but I believe he would be a great loss because he is one of THE funniest people out there. Judging by the audience reaction at the end this seems to be a settled view.
The show is on at The Assembly Rooms George Street until 24th August at 8.45pm (one Extra show has been added to Friday Night 11.15pm) but 23rd August has sold out.
Edinburgh Festival Fringe REVIEW — Party in the USA *****
Q: How many Manhattan financial professionals does it take to break the global economy?
A: You don’t know, man. You weren’t there.
When New York’s JV Squad take to the stage at Underbelly Topside to begin Party in the USA, live drums kick in and snippets of Miley Cyrus’s anthem drift in and out of focus. It’s immediately clear this is going to be an acid trip of a show. Fortunately, there’s plenty of Bud Light Lime (urgh!) to go round, and strudel in case we get the munchies.
Party in the USA aims to do no less than recreate 2008 New York, the causes and effects of the credit crunch, and the circumstances of Barack Obama’s election. Like the city itself at the time, it’s trippy. Time is bent and warped, nobody knows exactly what’s going on, and we’re all hanging on for dear life, hoping everything’s going to turn out OK. We follow young Deutsche Bank intern Jeff and his friends as he takes acid for the first time in the penthouse of the Plaza Hotel, travels to an anarchist squat in Germany, then returns to Washington, D.C. hoping he’ll be in time to save the world.
Like a psychedelic trip, Party in the USA teeters within touching distance of deep understanding and universal answers. But even with all the Russian literature degrees in the world, there’s little we can do other than repeat, ”Everything’s going to be OK.” And that’s OK, too. That’s how things did get fixed. Within hours of the capital spigots opening again, the bankers were flouting their own credit rules and everything was back to normal.
Party in the USA present a full range of characters with some of the best hair on the Fringe — hopeful, glib, aspirational, spacey, funny, and loving. But no easy answers. We’re in the future now, and Congress’s legislative fixes seem to demonstrate a misunderstanding of how early 21st century American capital works. But then, a substantial proportion of Manhattan’s financial professionals don’t get it either.
The JV Squad have the courage to follow all this through to its illogical, messy conclusion. Behind the raucous energy of this cleverly-scripted, inventively-designed and charmingly-acted production (as one of the characters would hope, it’s a ”matterful” show), there’s an uneasy feeling that we could be in for another bad trip tomorrow.
But maybe everything will be OK.
Party in the USA is on at Underbelly Topside (Venue 300), 15:00, Aug 15-25.
the Edinburgh International Book Festival – Ghost ships and Nature’s Power
Top author Rebecca Hunt’s gripping novel ‘Everland’ relates the story of two Antarctic Expeditions.
One is the tragic tale of a failed expedition of 1913, the members of which have now passed into legend, and an anniversary expedition which takes place in 2013. The parallel tales, a century apart, portray the building tensions between the characters of each expedition as they battle against the enormity of nature in this unforgiving and hostile environment.
In many ways the hostility of nature is the main protagonist, and Hunt’s descriptions of the bleakness of the landscape and the terror of the travellers are vivid. She read from her book painting a picture of the moments where the 1913 expedition members fear for their lives as “Waves rose into unfathomable masses.” It seems that they will drown in their small boat but unexpectedly they survive the storm. The psychological state of mind of the main character is revealed as instead of being joyful at their reprieve he relates “Preparing the soul for annihilation is hard enough, and all we were rewarded with a miracle.”
She described how “hope became a filthy secret” as it seemed unlikely they could return to safety. The modern expedition, although they have the benefits of modern technology, have the same physical and psychological battles to contend with and tensions inevitably run high as their situation becomes more and more perilous.
The theme of man’s battle with nature within historical fiction was carried on by author Valerie Martin.
Valerie Martin’s book “The Ghostof the Mary Celeste” is a multi-faceted retelling of the well-known story of the mysterious ship. In 1872 the eponymous merchant ship turned up off the coast of the Azores. The ship was deserted, with no sign of the ten souls who were known to have been aboard, including the Captain Benjamin Briggs and his wife and daughter. There was no sign of violence, storm damage or sickness, and this mystery has haunted and tantalised over the intervening years. Famously, Arthur Conan Doyle became fascinated with this mystery too, producing a fictionalised account for Cornhill magazine, which further caught the public’s imagination and added to the mythology of the Mary Celeste.
Valerie is clear that the mystery is not solved in the book, although various theories have been put forward. These range from sea monsters to water spouts and piracy, but none of these are satisfactory.
The book reinforces that idea that man courts disaster when it pits itself against the enormous power of nature. Whatever the detail of the events, it is clear that the ocean was the final victor in the story of the crew of the Mary Celeste.
Valerie Martin explained:- “Conflict deepens between the characters and nature. The extremity of nature is a strategy to force the characters to reveal what is inside them. My own experience of nature is pure terror. Others think it is a wonderful thing to challenge themselves by going to terrible places. I really just want the easy chair.”
She continued: “In the nineteenth century people went to sea not for adventure but because they needed the money, this was why they braved the danger. The sea was an incredibly dangerous place. Captain Benjamin Briggs of the Mary Celeste was one of six children. Five out of those six children were lost at sea, from accidents, drowning or disease.”
Journalist Lee Randall who hosted the talk asked both authors about their literary device of using multiple narrators to tell their respective stories. Rebecca Hunt explained that she felt that by using more than one narrator, she could provide different perspectives and give a fuller, more rounded version of events. “When one story is told through many eyes, it becomes none of their individual stories, it’s something in the middle.”
Valerie Martin agreed with this: “Historical fiction is particularly suited to this method of having different points of view, because by definition it’s not true. Fiction writers are committed to telling lies, and all fiction is a version of events. In history as well as historical fiction it’s hard to put your finger on what really happened. History weighs heavy on us. When we are confronted with unpleasant facts, such as political corruption, these facts can be disturbing, so stories can be rehashed and refocused. As time passes stories get rewritten, and all history is to some extent historical fiction.”
Lee Randall remarked that both books have a sense that the past is always with the reader, and asked for the authors’ views on ghosts.
Rebecca Hunt replied: “Well, I don’t know about ghosts, but in the Antarctic there is a sense of the men of past expeditions still being there. Scott’s hut with his clothes and possessions is still there, perfectly preserved, and is body is still there in the ice somewhere. You do get the sense that history is not dead in Antarctica, it is still present. I find the story of Scott’s failure and demise heart-breaking. Different accounts do paint a very different picture of Scott, and this is what started me thinking about the multiple narrators. Different accounts give a different sense of him. Even Scott’s own diary will show an exaggerated side of him as he was under such tension and pressure.”
Valerie Martin took up the thread and explained her own view of ghosts: “I don’t believe in ghosts but I believe that many people do. There’s a long tradition of ghost stories throughout the world. I don’t know why we like to scare ourselves, but we do, ghost stories are cool! Most people don’t admit to believing in ghosts, but at the same time everyone has a ghost story, something extraordinary or inexplicable.”
An audience member, possibly disappointed that the book does not provide a definitive answer, asked Valerie what she felt the most plausible explanation for the mystery of the Mary Celeste is. “Alien Abduction” she jokes. The audience’s laughter shows they aren’t buying this, so she continues in a more sensible, but no more enlightening vein. “I tried to get information from older sea captains about what would be the most likely cause, but I found them unwilling to speculate. However, from the accounts it was obvious to me that the crew left in a hurry. They didn’t take supplies, they didn’t lower the sails, and they didn’t lash the wheel. The Captain of the Mary Celeste was an experienced, well respected Captain who would not have left the ship that way. This makes me speculate that the Captain was not on board when the others left. But it’s unlikely we’ll ever know.
The Edinburgh International Book Festival runs until the 25th August at Charlotte Square Gardens
Edinburgh Festival Fringe REVIEW — Hiraeth ***
Each summer, youngsters of all ages descend on Edinburgh, crackling with creative intent. They make Auld Reekie feel young again. When twenty-five year old theatre designer Buddug James Jones and her ”acting life raft” Max Mackintosh take the Big Belly stage at Underbelly Cowgate, they’re all freshness and enthusiasm. The pair embark on a hour-long journey from a small Welsh family farm to London, during which Mackintosh’s energy is sufficient to portray not just a version of himself, but also Buddug’s mother, father, grandmother and first boyfriend, a faded Welsh rocker, and a Portuguese Lothario.
The show includes a partly improvised diversion during which the cast discuss the nature of art with members of the audience. While art need not always be about big, new ideas, the Fringe is at its best when looking at things from a new or different angle. Hiraeth’s problem is that while figuring out art, moving out, failed crushes, the death of a grandparent, and working towards a first job are impossibly massive and new from the perspective of teenage or early-twenties rural West Wales, without something more, they constitute a diary of things that happen to all of us.
Fortunately for the show, the charm and energy of the cast leaves the audience generously disposed to James Jones and Mackintosh, and they receive a generous ovation when the hour is up.
Hiraeth is on at Underbelly, Cowgate (Venue 61), 16:50, Aug 16-24.
Edinburgh Festival Fringe Review – Musical CID *****
This is a great concept for a show. It is hosted by Abi Roberts (who is appearing in the brilliant Twerk in Progress at The Voodoo Rooms 4.50pm every day) and features a different comedy guest every day.
Today’s guest was the fantastically funny Luisa Omielan who is starring in “Am I right ladies” at The Counting House 10.15pm.
The format is pretty straightforward: the guest has chosen songs for different aspects of their life things like first kiss, a getting ready to go out song, funeral song etc. Luisa’s choices were decent enough and included Beyoncé (not a fan to be honest) Cher, Savage Garden and a few others.
But the best part was the unrehearsed karaoke of Dead Ringer for Love with Abi as Meat Loaf and Luisa as Cher. The audience loved it!
Throughout the show the chat between host and guest was very funny indeed.
The daily guests will include Al Murray and Nathan Caton and the show runs until 24th August 12.30pm at The Gilded Balloon Turret
Tickets are £9.50 (Concessions £8.50)
Find Abi on Twitter: @abiroberts and Musical CID: @comedydiscs
Find Luisa on Twitter: @luisaomielan
Film Review: God Help the Girl (Stuart Murdoch, 2014)
It’s an ambiguous Glasgow under a dull light. The music scene is there, as are the high rise buildings and the grey skies. However, notably absent from God Help the Girl is the city’s vibrancy, wit and charm. Unfortunately, Belle and Sebastian’s founding member has omitted the ingredients that could have made his musical great.
Stuck in a depressed state, a girl named Eve seeks solace in the music she writes. She confides in and works with James and Cassie, two inspired souls whom she collaborates with musically. As their inspiration blossoms, Eve must question whether this upward spiral she is on could possibly uncoil.
Stuart Murdoch’s intentions with his own music coming to life on film were a little too flimsy in their execution. What could be brimming with charm and invention is disappointingly cookie cutter in terms of its writing and performances. His scriptural effort echoes those achingly rehashed indie teen ‘dramedies’ that BBC Three seem to be churning out to a non existent audience. Murdoch could have used the great city of Glasgow as a platform for his cast to perform on, but its existence is hollow and unapparent. Bar the occasional thick accents and a passing reference to ‘neds’, this could be any of the UK’s steel grey cities.
Characters are thinly developed and halfheartedly performed, surprising from a writer with so much lyrical talent, and a cast with indelible skill. Doe eyed and pale skinned, Emily Browning, playing Eve, does an excellent job of looking the part, but struggles to embody the broken soul she’s meant to represent. Hannah Murray playing her rather ditzy accomplice does so competently, but essentially reenacts the role she most famously played in E4’s Skins.
It doesn’t fall totally flat. When it comes to the music, Murdoch has everything on point. Spattered evenly throughout, they come along to salvage the film from growing monotonous. Their screen execution is often twee, but does have gleeful, endearing moments that will delight any fan of musicals, and should satisfy a fair chunk of Belle & Sebastian’s crowd.
Stuart Murdoch’s visual interpretation of God Help the Girl should have been a powerful homage to his music and the city he hails from. Instead, we are left with a rather diluted and stale view of teenage hormonic angst, with some jubilant tunes along the way. Maybe if Murdoch had handled the musical side of things whilst handing the scriptural and directorial reins to someone more experienced, God Help the Girl could have risen from the flat note it ends up groaning on.
God Help the Girl has its UK Premiere at Edinburgh’s Corn Exchange on Saturday August 16th, featuring a live performance from Belle and Sebastian. Tickets for this are available here.
Edinburgh Festival Fringe Review – The Curing Room *****
Theatre is often mistaken as a medium used for glittering grandiosity, but one significant production is counteracting almost everything you have grown familiar with. Under harrowing darkness, The Curing Room has the incontrovertible ability to seep under your skin in a way that will demand that you never forget what you saw.
In the dark basement of a Polish monastery, seven Soviet Prisoners of War are imprisoned by the Nazi regime and left naked, to wither and die. With nobody else to help in the war torn world outside, the men must question the value of their own lives and those around them, as they are forced to survive in a room that holds nothing but themselves.
Impeccably cast and strikingly performed, The Curing Room’s ensemble present the attitudes of these soldiers with indelible conviction. Rupert Elmes delivers a performance full of gravitas and nobility that instantly asserts his position in the production. This filters down through the cast, each giving equally riveting performances, notably newcomer Matt Houston showing an exquisite emotive range, and Will Bowden, who adopts a sharp sense of brutality that ricochets against the men around him.
During the time you spend with these men, you bear witness to a redefining of their own masculinity, brotherhood and morals. It ask questions that its subjects struggle to answer, but the reactions are so passionate and authentic that even you as the viewer put yourself in this grueling situation. David Ian Lee is the man responsible for this, crafting a script that is entirely fearless and savage. It has a strong, shuddering heart running through it, simultaneously caustic and graphic in its execution.
Very few theatrical productions allow themselves to purposely fall apart in fear of looking unrefined. In its sprawling depiction of brutality and brotherhood, The Curing Room becomes visceral, haunting and affecting – a truly momentous theatrical achievement.
Kingdom Theatre acknowledge and thanks Major Mark Aldridge, Director of Music in the band of the Royal Armour Corp for allowing Moray Innes to join them at short notice.
