Edinburgh Festival Guide 2014 by List Publishing Ltd

FESTIVAL Guide EDINBURGH

LIST.CO.UK/FESTIVAL

2014

2 SHO50 + THE WS E CITY GSSENTIAL UIDE

A S I LIFE T E R A CAB SOME S G N I R B AVE MISS BEH URGH B N I D E O T SPARKLE

SOFIE GRÅBØL JOHN BYRNE BRIDGET CHRISTIE

TONY PARSONS NOGGIN THE NOG JULIAN COPE TIM KEY DIANA RIGG

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IN TE RN AT IO JA NA ZZ L

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THE EDINBURGH GIN DISTILLERY Overlooked by the splendour of Edinburghâ&#x20AC;&#x2122;s iconic castle, nestled beneath the stairs at 1a Rutland Place, youâ&#x20AC;&#x2122;ll find something of a hidden wonderland - The Edinburgh Gin Distillery. Whether an Edinburgh native or simply passing through, The Edinburgh Gin Distillery is the perfect place to sate a curious mind. Marvel in wonderment at our two delightful stills - Flora and Caledonia - before allowing the innermost secrets of distilling to unfurl before your very eyes. Tours | Edinburgh Gin Shop | Heads & Tales Bar

Open Daily from 1st July 10am-4pm Due to the historic nature of the building, the distillery is unsuitable for wheelchair access

Underneath the stairs at the Rutland Hotel, Edinburgh, EH1 2AE info@edinburghgindistillery.co.uk www.edinburghgindistillery.co.uk

T S E G R A L â&#x20AC;&#x2122;S D L R o W E H T ARTS FESTIVAL IS ALMoST HERE!

2 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

EDINBURGH FESTIVAL GUIDE 2014

CONTENTS ‘IT’S HARD TO DO JOKES IN OTHER LANGUAGES’

SOFIE GRÅBØL (PAGE 94)

FRONTLINES & FEATURES 9

Front Comebacks, cooking and a Collapsing Horse

News in Brief Jazz, jail and gin

Behind the Scenes Celebrating those who help make the festival happen

22 New Zealand Antipodean delights from dancers to zombies

ART 26 John Byrne The Paisley boy gives us two dramatic retrospectives

30 Tamsyn Challenger How the internet is damaging our souls

BOOKS 34 Tony Parsons and John Gordon Sinclair Why these clean-living boys turned to crime

38 Julian Cope The vivid debut novel from a modern antiquarian

FRINGE 44 Comedy Cabaret, Rob Newman, Tim Key, Bridget Christie

63 Dance Lenka Vagnerová, Pamela Stephenson Connolly

66 Kids Noggin the Nog, Mil’s Thrills, circus acts

69 Music Andy Bell, KlangHaus, Withered Hand

77 Theatre Common Wealth, Anne Archer, Diana Rigg

INTERNATIONAL 94 Sofie Gråbøl TV’s great Dane dips into the past

98 Akram Khan How a Hindu epic nearly drove him to despair

JAZZ 107 Christian Scott A trumpet star who’d rather be the sax player

POLITICS 110 I-Spy Espionage comes to the Scottish Parliament

TATTOO 114 The Royal Edinburgh Military Tattoo Meet the man who lights up the esplanade

FOR CO FEST MPLETE LISTI IVAL LIS NGS SEE

T. FESTCO.UK/ IVAL

OTHER FESTIVALS 117 Edinburgh Mela Soumik Datta on being the ideal team player

CITY GUIDE 123 Old Town 129 New Town & Stockbridge 138 Southside 144 West End 149 Leith & Broughton Street

Published in July 2014 by The List Ltd Head Office: 14 High Street Edinburgh EH1 1TE Tel: 0131 550 3050 Fax: 0131 557 8500, list.co.uk

© 2014 The List Ltd. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission in writing of The List Ltd. ISSN: 1744-3903

Extensive efforts have been made to ensure the accuracy of the information in this publication; however the publishers cannot accept responsibility for any errors it may contain.

154 Clubs 155 LGBT

INDEX 160 Festival A–Z

OKING FESTIVAL BIOON INFORMAT

EDINBURGH ART FESTIVAL 31 Jul–31 Aug edinburghartfestival.com Telephone booking: Please call individual venues. Many events are free but ticketed

EDINBURGH INTERNATIONAL BOOK FESTIVAL 9–25 Aug edbookfest.co.uk Telephone booking: 0845 373 5888 In person: The Hub, Castlehill, and the box office in Charlotte Square Gardens

EDINBURGH FESTIVAL FRINGE 1–25 Aug edfringe.com Telephone booking: 0131 226 0000 In person: Fringe Box Office, 180 High Street; Queen Street Station, Glasgow

EDINBURGH INTERNATIONAL FESTIVAL 8-31 Aug eif.co.uk Telephone booking: 0131 473 2000 In person: The Hub, Castlehill

WELCOME TO THE E FESTIVAL This is a monumental year for Scotland, with Glasgow hosting the Commonwealth Games, a huge Yes/No vote looming, plus Bannockburn and all that. This Edinburgh Festival Guide zeroes in on the best international performers appearing in Edinburgh between mid July and the end of August, but we couldn’t ignore some of the finest creative talent from these shores. So, we hook up with painter and playwright John Byrne, chat to John Gordon Sinclair about his crime fiction, analyse identically-surnamed literary giants Louise and Irvine Welsh, and have a good old look at the Great Tapestry of Scotland. Looking further afield, we talk to Danish star Sofie Gråbøl on going from The Killing to The James Plays, chat with GermanAmerican comic-actress Lucie Pohl, chew some fat with Canadian-Estonian stand-up Glenn Wool, hear from New Orleans jazz sensation Christian Scott and meet up in Prague with Czech choreographer Lenka Vagnerová and her baby. We also have a New Zealand special, Mela headliner Soumik Datta reflects on working with Beyoncé, and Akram Khan recalls how The Mahabharata nearly drove him over the edge. None of which is even touching on the star names in here such as Diana Rigg, Julian Cope, Pamela Stephenson Connolly, Pina Bausch, Shakespeare and Noggin the Nog. And yes, we will confess to mentioning Game of Thrones far too much. The Edinburgh Festival sometimes feels overwhelming but The List has been doing this for almost 30 years, so we know the ropes. As well as this Edinburgh Festival Guide, we’ll have three free magazines in August plus a website and Twitter feed featuring all the best news, reviews and interviews, keeping you in touch with what’s hot and what’s really not. So, make sure this essential guide is close to hand, pray for sunny weather and prepare to have a ball at the world’s biggest arts extravaganza.

Brian Donaldson EDINBURGH FESTIVAL GUIDE EDITOR

EDINBURGH JAZZ & BLUES FESTIVAL 18–27 Jul edinburghjazzfestival.com Telephone booking: 0131 473 2000 In person: The Hub, Castlehill

FESTIVAL OF POLITICS 15–17 Aug festivalofpolitics.org.uk Telephone booking: 0131 348 5000 In person: Scottish Parliament, Holyrood Road

CONTRIBUTORS Festival Guide Editor Brian Donaldson City Guide Editor Claire Ritchie Editorial Assistant Maud Sampson Words Kelly Apter, Niki Boyle, Barry Cooper, Neil Cooper, Brian Donaldson, Miles Fielder, Mark Fisher, Ian Hogg, Malcolm Jack, David Kettle, Rowena McIntosh, Kate Molleson, Henry Northmore, David Pollock, Lucy Ribchester, Jay Richardson, Claire Ritchie, Claire Sawers, Fiona Shepherd, Kirstyn Smith,

Yasmin Sulaiman, Gareth K Vile, Kaite Welsh, Alice White

DIGITAL

PRODUCTION Design & Art Direction Lucy Munro Production Manager Simon Armin Subeditors David Kettle, Paul McLean

Bruce Combe, Iain McCusker, Joe McManus,

ADVERTISING & SPONSORSHIP Chris Knox, Sheri Friers, Nicky Carter, Debbie Thomson, Joe McManus, Jessica Rodgers

Publisher Robin Hodge

Simon Dessain, Niki Boyle, Andy Carmichael, Brendan Miles, Andy Bowles, Hamish Brown THE LIST Editor Gail Tolley Accounts Sarah Reddie

TOP 20 Stuck to know what you must see this festival? From puppets to protests and jazz to gyms, this selection has everything you could possibly need

INTERNATIONAL

FRINGE

JAZZ

Gråbøl, Blythe Duff and Jamie Sives are among the actors appearing in Rona Munro’s highly anticipated historical trilogy. See page 94. Festival Theatre, 10–22 Aug.

was messing about near a fully drawn bath. This time, he’s producing comedyart in, on and beside a bed. See page 58. Pleasance Courtyard, 13–25 Aug.

even to be a fan of his chosen instrument (the humble trumpet), this New Orleans player will still be whipping up a storm with it. See page 107. Queen’s Hall, 27 Jul.

MIL’S TRILLS New York entertainer Amelia Robinson charms the socks off kids and their grown-ups with an innovative music-centred show. See page 68. Pleasance Courtyard, 30 Jul–17 Aug.

ART

FRINGE

BOOKS

and picks up a brush for these two must-visit retrosepctive exhibitions. The Paisley boy has some Sitting Ducks out in a row at the Scottish National Portrait Gallery, while at Bourne Fine Art, he’s reached a Dead End. See page 26. Bourne Fine Art, until 30 Aug; Scottish National Portrait Gallery, until 19 Oct.

Life is a cabaret, old chums. And the likes of EastEnd Cabaret (above), Dixey and the Voca People will be proving just that at the Fringe. See page 44. Various venues, 30 Jul–25 Aug.

press enfant terrible has shifted loads of Hornby-esque novels. Now he’s set to do the same with crime fiction. See page 34. Charlotte Square Gardens, 9 Aug.

INTERNATIONAL

FRINGE

INTERNATIONAL

from recent injury, the acclaimed choreographer and dancer will reconnect with his past and present for Gnosis. See page 98. King’s Theatre, 19–21 Aug.

Fringe debut proves he can exist out of his comfort zone with this song cycle about a Dorian Gray type. See page 69. Assembly George Square Studios, 5–16 Aug.

its corrupt political systems, Ubu and the Truth Commission can be read as an attack on state tyranny wherever it rears its ugly head. From the people who brought us the epic War Horse stage show comes this stirring play based on the original Ubu Roi drama from Alfred Jarry. See page 100. Lyceum Theatre, 28–30 Aug.

THE JAMES PLAYS Sofie

TIM KEY A couple of years ago, Key

JOHN BYRNE Scotland’s renaissance man puts his play pen down for a bit

AKRAM KHAN Having recovered

ANDY BELL The Erasure frontman’s

6 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

CHRISTIAN SCOTT Claiming not

CABARET

FRINGE

TONY PARSONS The former music

HANDSRING PUPPET COMPANY Not just a satire on South Africa and

TOP 20 FRONTLINES

FRINGE

MELA

FRINGE

glorious success back home, the Czech choreographer’s company arrives with a double-header of Riders and La Loba. See page 63. Zoo Southside, 1–25 Aug.

player teams up with the Scottish Chamber Orchestra for his movie-inspired The King of Ghosts. He certainly knows what working with other people is all about, given his past experiences with the likes of pop superstar Beyoncé and musical comedy behemoth Bill Bailey. See page 117. Leith Links, 29 Aug.

Anne Archer plays Hanoi Jane in this piece recalling the fallout from Fonda’s anti-Vietnam war protests. See page 80. Assembly Rooms, 30 Jul–24 Aug.

LENKA VAGNEROVA After

SOUMIK DATTA Committed to the noble art of collaboration, this sarod

THE TRIAL OF JANE FONDA

FRINGE

POLITICS

BOOKS

to actually knocking this whole stand-up comedy game on its head. Funny what a prestigious comedy award can do for your confidence. Last year’s Fosters winner makes one of those glorious return things, and this time she’s An Ungrateful Woman. Expect some subtle satire. See page 58. The Stand, 2–25 Aug.

The ‘R’ word is writ large and the FoP aren’t going to avoid it. They have a lovely exhibition of tapestries too. See page 109. Scottish Parliament, 15–17 Aug.

are bedtime reading for some, must-see TV viewing for others. Their creator pops by for a trio of events. See page 33. Charlotte Square Gardens, 9, 25 Aug.

FRINGE

ART

TATTOO

acts from last year’s Fringe, The Pin pair get set to make that superb chemistry do some more talking. See page 53. Pleasance Courtyard, 30 Jul–25 Aug.

Monoculture, Challenger tackles the cult of selfies and questions the supposed democracy that technology gives us. See page 30. Summerhall, 1 Aug–26 Sep.

the August calendar, this year celebrating home, friends and family. See page 114. Edinburgh Castle, 31 Jul–23 Aug.

BRIDGET CHRISTIE Apparently, Christie had been giving some consideration

THE PIN One of the top new double

TAMSYN CHALLENGER With

FESTIVAL OF POLITICS

THE ROYAL EDINBURGH MILITARY TATTOO A staple of

LAUREN CHILD Charlie and Lola

FRINGE

COMMON WEALTH The site-specific pioneers take over a Craigmillar gym for a theatrical piece about young female Muslim boxers. See page 77. Sandy’s Boxing Gym, 18–25 Aug.

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 7

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Stellar Quines and Lung Haâ&#x20AC;&#x2122;s Theatre Companies in association with the Finnish National Theatre UK Premiere

13 sunken years

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www.13sunkenyears.com ASSEMBLY ROOMS FRINGE Monday 11 â&#x20AC;&#x201C; Sunday 24 August (not Mon 18 Aug), 14.05pm Assembly Rooms, George Street, Edinburgh, EH2 2LR I ÂŁ13 / ÂŁ 9 concession Box Office +44 (0) 844 693 3008 I www.arfringe.com Edinburgh Festival Fringe Box Office 0131 226 0000 I www.edfringe.com

#$ $ $ $ % %#$ $ % " 8 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

FRONTLINES NEWS | GOSSIP | OPINION

FESTIVAL OF THRONES Seems that everywhere you look these days, someone is banging on about Game of Thrones. Like here, for example. Even Edinburgh is being drawn into the battle, what with that designer guy who recently produced a viral version of the GoT opening credits, replacing the Seven Kingdoms with the landmarks of Auld Reekie. And here are some people and events which will be bringing a wee bit of Westeros to the capital in August

COLLAPSING HORSE Not in fact a reference to the nag which got chopped in half by the Mountain (his idea of a post-joust warm-down), but the Irish theatre company which features Jack Gleeson aka the late and little lamented King Joffrey. That’s him pictured below, having just chopped some doves to shit while getting his wedding pie ready. Still, at least he got his comeuppance shortly afterwards. If you throw coins at Sigur Rós, you’ll just have to suffer a painful death. DIANA RIGG She played the wonderfully salty matriarch of the Tyrells who had more than a hand in young Joffrey’s ‘untimely’ demise. We got the great Dame at one end of a phone for some chat about her upcoming show on nasty theatre critics (and card-playing on the GoT set). Read all about that on page 86. GEORGE RR MARTIN The main man is chatting about all things Ice and Fire-related at the Book Festival. Your mission is to try and come up with a question he’s never been asked before. Good luck with that one.

MACKENZIE CROOK Still most famous as Gareth in The Office, he cropped up as mean wildling, Orell. We all knew his game was up when he started muscling in on Jon Snow’s affections for Ygritte and later, as he tried to send them to their deaths while climbing up that massive wall. He’s also in Charlotte Square Gardens, chatting about warg-free kids books. WINTER IS COMING The inevitable themed comedy hour about the show, named after what amounts to a Game of Thrones catchphrase. They’ve had all that one-man Star Wars and Potted Potter gear over the years, so why not.

JAMIE SIVES As one of Ned Stark’s captains, Sives met his end via a thick dirk through the eye during an almighty scrap in King’s Landing. Fingers crossed the Embra-born actor gets out of the EIF’s James Plays with all his bits intact.

HBO At the telly festival, there’s a talk about how HBO reinvented the small screen wheel. They’ll be mentioning Game of Thrones in that, y don’t. we bet. Seven hells to them if they

LIFE’S WHAT YOU BAKE IT Having produced works of wonder during the Great British Bake Off, Glenn Cosby shows up at the Fringe with Food Junkie. We asked him to solve some culinary queries from movers and shakers around the festival NICK BARLEY, BOOK FESTIVAL DIRECTOR If you had to create a radically new national dish called the Referendum Pie, popular with Irvine Welsh as well as AL Kennedy, what ingredients would you use? Glenn Irvine Welsh makes me think sweet rather than savoury and to include whisky and poppy seed. And I always think of AL Kennedy as being quite dark and sharp. Like good dark chocolate. DAVID ALLFREY, TATTOO PRODUCER Some say that the best steak and haggis pie in the world is served in the Officer’s Mess at Edinburgh Castle. How would you propose to better it? Glenn I would braise Aberdeen Angus blade very slowly with 80/- and caramelised onions for four hours. In a buttery, flaky pastry, I’d layer haggis, beef and another layer of haggis before topping with a pastry lid. Bake until golden brown and you have beef, haggis and Heavy pie. ROGER SPENCE, JAZZ & BLUES FESTIVAL PRODUCER Taking inspiration from the jazz classic, ‘Cornbread, Peas and Black Molasses’, how do you make the perfect cornbread? Glenn Polenta is easier to find than American cornmeal; mix well and rest the dough before you bake it. I like fresh corn and jalapenos in the dough, so that it’s a soft yet spicy taste of soul food. JONATHAN MILLS, EDINBURGH INTERNATIONAL FESTIVAL DIRECTOR Is parsley the ultimate garnish? Glenn Parsley as a garnish is like a panto: irredeemably naff but hard not to be secretly fond of. Food doesn’t need a garnish, so unless you’re serving parsley soup, forget it! Q Glenn Cosby: Food Junkie, Assembly Roxy, Roxburgh Place, 0131 623 3030, 2–25 Aug (not 11), 4pm, £12–£14 (£10–£12). Previews 30 Jul–1 Aug, £7. list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 9 lis

FRONTLINES NEWS | GOSSIP | OPINION

PICTURE THIS

ALFIE MOORE It’s one thing to be a fan of the Naked Gun movies, but Moore would have been neglecting his duties as an ex-cop not to produce this publicity image at some point

TIM VINE The pun-lovin’ comic goes all Mary Poppins on us with Timtiminee Timtiminee Tim Tim to You. Will he sweep audiences off their feet? That’s also a reference to the movie

SEANN WALSH Given Adele’s previous very public encounters with comedian types (well, James Corden), would she reward this rather subtle tribute to her 21 cover art with a sweary finger?

Wonder how to get your show some publicity purely from the poster image? Why not make it a direct reference to a famous film still or album cover or artwork and then hope someone writes a feature in an Edinburgh festival magazine about such things . . .

HENNESSY & FRIENDS Apparently, this threesome sketch group were on the verge of splitting up. Turns out it might have just been a rumour. Sorry . . .

LLOYD LANGFORD The Welsh comic claims to be an oldfashioned guy which is the only explanation for inserting himself twice into this iconic 1930s painting by Grant Wood

A BRIDGE OVER TODDLED WARDER Richard Todd and Thomas Ward worked pretty hard to make this pun work. Let’s hope they had time left over to write some jokes

DAVE CALLAN The title of his show is A Little Less Conversation which might suggest this Irish chap is getting his king of rock‘n’roll and his king of pop mixed up

KIN N A R Y B D ENDORSE

WHERE HAVE YOU BEEN?

It might sound like a new crime-fiction fragrance au Edinburgh (dominated by the lingering Auld Reekie hops), but it’s merely an acknowledgment that the Rebus creator has shown up on an awful lot of book jackets hailing the contents therein. Here’s a bunch of nice things he’s said about Scottish writers showing up at Charlotte Square Gardens:

WILLIAM MCILVANNEY

DENISE MINA

‘it’s doubtful I would be a crime writer without the influence of Laidlaw’

‘one of the most exciting writers to have emerged in Britain for years’

DOUG JOHNSTONE

JAMES YORKSTON

‘a great slice of noir’

‘I’m jealous’

PETER ROSS

RON BUTLIN

‘his stories are always a joy’

‘a poet who takes the novel form and shows it is ripe for reinvention’

10 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

Many Fringe comics say they need to come back every year to keep their work in tiptop condition. For them, an annual deadline is a necessity. For others, they’re happy just swanning in and out of Edinburgh when they can be bothered. Here’s a bunch of the returned with the last year they were here: Andy de la Tour (1985) Jack Dee (1994) Kevin Day (1996) Josie Lawrence (2000) The Nualas (2001) Umbilical Brothers (2005) Rob Newman (2007) Frank Skinner (2009)

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FRONTLINES NEWS | GOSSIP | OPINION

NEWS IN BRIEF SNIPPETS OF STUFF FROM ACROSS THE FESTIVAL FRENCH CONNECTION The Institut français has its biggest Fringe to date by presenting a programme full of top French (and Belgian) delights. There’s some circus larks from Cie des Femmes à Barbe, and Liverpool-born puppeteer Colette Garrigan gives us Sleeping Beauty (pictured) with her Normandybased group, Akselere.

WAR ZONE The Edinburgh International Festival has a dedicated strand for films which capture different aspects of wartime. Alongside classics such as Akira Kurosawa’s Ran and Volker Schlöndorff’s The Tin Drum are modern takes such as Darfur and Steve McQueen’s Hunger (pictured). All movies will be shown at the Hub.

HIP TO BE SQUARE

©EDINBURGH FESTIVAL FRINGE SOCIETY

St Andrew Square will burst into vivid life with the Famous Spiegeltent taking up residency there alongside Stand in the Square. Among the highlights for the latter’s 150-seater yurt will be Michelle McManus’ Reality (pictured), Bright Club and SetList: Stand-Up Without a Net.

HOME FRONT

TAKING FLIGHT

BARNSTORMING

Passport? Check. Bags? Check. Tickets collected to see Tim Key and The Trial of Jane Fonda? Check. The Arrivals Hall at Edinburgh Airport will now be your first port of call to pick up those pre-purchased Fringe tickets meaning that the festival experience starts as soon as you’ve landed here.

Ever fancied raising a medieval barn? Course you have, and that’s exactly what Glasgow School of Art graduate Tessa Lynch will be doing at the Jupiter Artland orchard from 17 July to late September in an attempt to spark debate about home ownership and theories of modern community.

12 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

Innovative Edinburgh-based theatre company Grid Iron are teaming up with the Book Festival for Letters Home, in which four short dramas are adapted for promenade productions in and around Charlotte Square Gardens. The pieces will be written as fictional letters between characters and reflect themes of identity and home. Among the talents involved in this project are Chimamanda Ngozi Adichie, Ben Harrison, Zinnie Harris and Christos Tsiolkas.

Rethinking the past Free public lectures to mark the First World War Centenary. 11â&#x20AC;&#x201C;14 August 2014 www.shca.ed.ac.uk/festivallectures

The University of Edinburgh is a charitable body, registered in Scotland, with registration number SC005336.

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list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 13

FRONTLINES NEWS | GOSSIP | OPINION

NEWS IN BRIEF SNIPPETS OF STUFF FROM ACROSS THE FESTIVAL GIN AND BEAR IT The Hendrick’s Carnival of Knowledge slinks back into Edinburgh to unleash a ‘unique travelling parlour of enlightenment’ at the plush surroundings of One Royal Circus between 7–10 August. Among the delights will be some Guerilla Science, a Burke and Hare day, and the Carnival of Curious Animals.

GET WITH THE PROGRAMME HBO’s Mike Lombardo is at the TV Festival to tell us how amazing his channel is and how they went about creating an epoch-shaping canon of True Detective (pictured), Curb Your Enthusiasm and The Sopranos. And Six Feet Under and Deadwood. And Game of Thrones and, well, you get the picture. ‘It’s not TV’ etc.

THE WHEEL DEAL Who doesn’t love a massive revolving circle in the sky? After the Christmas Wheel’s success, it’s time for the Festival Wheel to spin into action over East Princes Street Gardens. There’s even an enticement to locals who might otherwise avoid the city centre for a solid month, with residents getting a 20% ticket price reduction.

JAZZ IT UP

PLAY TIME

DAILY EXPRESS

As part of the sixth Made in Scotland showcase, Playwrights’ Studio Scotland will be launching TalkFest, a programme of workshops and discussions about the creative talent behind this year’s theatre lineup. The sessions will be led by the likes of Nicola McCartney (pictured), Oliver Emanuel and Linda McLean.

Billy Hayes’ story of being incarcerated in a Turkish prison for drug smuggling was first told in print and then made into the Oscar-winning movie, Midnight Express, starring Brad Davis. Hayes will be here in the flesh at Le Monde to tell us his true traumatic tale and revealing the things Alan Parker’s movie got a bit wrong.

14 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

Aimed at developing musical skills for all ages and across abilities, the Edinburgh Napier University Jazz Summer School flings its doors open from 21–25 July. Haftor Medbøe will be the resident tutor and Artscape’s Youth Band of Cape Town will take part in workshops. More details are over at edinburghjazzfestival. com.

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The sequel to the award winning The List produced by the same creative team. by Jennifer Tremblay translated by Shelley Tepperman starring Maureen Beattie

11:00 31 JUL - 25 AUG

www.stellarquines.com/thecarousel

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27th June â&#x20AC;&#x201C; 31st August

A summer of Circus and thrills!

11 live actor shows, 1000 years of history, 2 exciting rides in 1 unique adventure.

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31 July â&#x20AC;&#x201C; 24 August 2014 (not Mondays) various times Full Price ÂŁ18 / Standard Concession ÂŁ13 / Other Concessions ÂŁ8 Traverse Theatre 10 Cambridge St, Edinburgh eh1 2ed 0131 228 1404 www.traverse.co.uk

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 15

Tēnā koutou During August, nearly 200 New Zealand artists will present their work across Edinburgh’s festivals, showcasing some of the country’s most exciting dance, theatre, comedy, music, visual arts, literature and Kapa Haka (Maori performing arts).

And don’t forget to come down to the Backyard at the Roxy delivered in partnership with Assembly to enjoy a true slice of New Zealand hospitality.

In a special year which sees Scotland hosting the Commonwealth Games, celebrating a year of Homecoming, commemorating the First World War and holding a national referendum on independence, the NZ at Edinburgh season explores the themes of national identity, the legacy of war, ‘common-wealth’, place and belonging, survival and celebration. We encourage you to see as much work as you can – this is a season not to be missed and is a tribute to the talent of the artists and companies invited to perform in Edinburgh. A special thank you to all of our partners and supporters for helping make this happen.

NZ AT EDINBURGH FESTIV AL FRINGE

HAKA

31 JULY – 23 AUGUST 2:00pm

BLACK FAGGOT

We’re bringing our wine, beer, cider, soda and coffee to Edinburgh so the world can share a true taste of New Zealand. Come down to our Garden Bar (at Assembly Roxy, 2 Roxburgh Place) from 11am to 11pm and say ‘kia ora’ to the team.

Kia Kaha

31 JULY – 25 AUGUST 1:15pm An intrepid British Woman sails to New Zealand to civilise the natives but instead ﬁnds liberation and love as she ﬁghts against injustice dealt to MƗori at the hands of the English.

ASSEMBLY ROXY - UPSTAIRS Tickets: £8-£13

30 JULY – 22 AUGUST 7:20pm

SUMMERHALL Tickets: £6-£8 festival14.summerhall.co.uk / 0131 560 1581

THE FACTORY

31 JULY – 25 AUGUST 9 & 11:30pm Have you got what it takes to survive a zombie apocalypse? An immersive zombie event with guts. Go head to head with Zombies and see how you “fear”!

ASSEMBLY GEORGE SQ. THEATRE - CONTAINER YARD Tickets: £8-£12

31 JULY – 25 AUGUST 7:15pm New Zealand’s first Pacific musical-heartfelt, hilarious and entirely unique. The vibrant, funk-fuelled score weaves a romantic narrative into a moving tribute to the courage of Pacific migrants in the 1970s.

ASSEMBLY ROXY - CENTRAL Tickets: £10-£15

THE GENERATION OF Z

1 – 24 AUGUST 10:00AM A beautiful, gentle puppet show about an unlikely friendship between Duck and a character who introduces himself as Death. A must see for all families.

A collection of dance works by acclaimed choreographer Neil Ieremia. Highly physical, rich in story-telling traditions of the South Paciﬁc, expressed with raw ﬁnesse, unique power and beauty.

Shining a light on the complex emotional bonds of New Zealand’s wartime history. Performed in MƗori, Italian and English.

Tickets: £9-£12

DUCK, DEATH AND THE TULIP

ASSEMBLY ROXY - UPSTAIRS Tickets: £7-£12.50

31 JULY – 25 AUGUST 3:30pm

ASSEMBLY GEORGE SQ. STUDIOS - TWO

- See you soon!

31 JULY – 25 AUGUST 5:30pm

BLACK GRACE

STRANGE RESTING PLACES

ON THE UPSIDE DOWN OF THE WORLD

2 Roxburgh Place

It’s not easy being young, gay and a Samoan - especially when God and your mother are watching. Filthy and funny, raw and emotional, this show will make you laugh, cry and believe in the power of love.

A once in a life time chance to see the world famous haka performed by New Zealand’s best. HAKA brings you face to face with 25 performers in an electrifying display of MƗori identity.

ASSEMBLY HALL - MAIN HALL Tickets: £10-£15

NZ GARDEN BAR

ASSEMBLY HALL - MAIN HALL Tickets: £12-£17.50

for events & tickets:

www.nzatedinburgh.com 0131 623 3030

www.nzatedinburgh.com EDINBURGH INTERNATIONAL FESTIVAL

I AM LEMI PONIFASIO/MAU

EDINBURH INTERNATIONAL BOOK FESTIVAL

ROYAL EDINBURGH MILITARY TATTOO 16 - 17 AUGUST 8:00pm

KAPA HAKA &

1 - 23 AUGUST Mon-Fri ~ 9:00pm Sat ~ 7:30pm-10:00pm

NEW ZEALAND HIGHLAND DANCERS

Powerful, frightening and beautiful, I AM is the newest theatredance from Lemi Ponifasio/MAU.

WITI IHIMAERA

15 AUGUST ~ 7:30pm 17 AUGUST ~ 5:00pm 18 AUGUST ~ 2:00pm Author of The Whale Rider, Ihimaera is one of New Zealand’s leading novelists and short story writers.

Highly talented performers showcasing the richness of New Zealand’s culture and heritage.

THE EDINBURGH PLAYHOUSE

EDINBURGH CASTLE

Tickets:

CHARLOTTE SQUARE

eif.co.uk / 0131 4732000 - Tickets: £10-£32

edintattoo.co.uk / 0131 2251188

£25-£60

edbookfest.co.uk

MICHAEL HOUSTOUN

19 AUGUST 11:00am Houstoun is one of New Zealand’s ﬁnest concert pianists, praised for his vivid, ﬁery playing and for his incisive interpretations.

GARETH FARR

THE QUEEN’S HALL eif.co.uk / 0131 4732000 - Tickets: £8.50-£30

11 & 18 AUGUST 10:15pm Two spectacular nights of New Zealand music at Assembly Checkpoint. Thanks to British Council NZ and Creative New Zealand.

ASSEMBLY CHECKPOINT

EDINBURGH JAZZ AND BLUES FESTIVAL

WHERE DO I END AND YOU BEGIN

1 AUGUST - 19 OCTOBER Mon-Fri ~ 10am-5pm Sun ~ 12pm-5pm

THE TROUBLES

CITY ART CENTRE

FREE ADMISSION

edinburghartfestival.com

24 JULY - 27 JULY From the coarse to the sublime, the emotive to the absurd, The Troubles’ music is inventive, passionate and honest. A perfect late night treat.

A major art exhibition with 5 invited curators, and 20 artists from across the Commonwealth.

26 AUGUST 11:00am The world premiere of Farr’s Relict Furies, features three powerful songs about women in the First World War.

NEW ZEALAND MUSIC SHOWCASE

EDINBURGH ART FESTIVAL

EDINBURGHJAZZFESTIVAL.COM

EDINBURGH FESTIVAL FRINGE ALSO FEATURES BACK OF THE BUS Ride the Red Bus through the streets of Edinburgh with three Kiwi dancers. Assembly George Sq. 4-21 AUG ~ 4:30pm & 6:15pm Fridays ~ 8:00pm

THE HEIGHT OF THE EIFFEL TOWER Neighbours’ star Morgana O’Reilly takes on all the members of a nuclear family - which is to detonate. Assembly Hall - Ballie Room 31 JUL-25 AUG 12:25pm

FANFICTION COMEDY The show that lets you delve deeper into your pop-culture fantasies than you ever wanted to go. Assembly George Sq. Theatre 31 JUL - 24 AUG 4:40pm

Tickets: £10

We have teamed up with Air New Zealand with support from Creative New Zealand to offer a lucky List reader the chance to win a pair of flights to New Zealand. Air New Zealand introduced one of the world’s most innovative long-haul experiences flying daily between London and New Zealand, via Los Angeles. Whether you choose to travel in Economy, designed with comfort and room in mind or upgrade to the unique Economy Skycouch™*, where three Economy seats transform into a couch so you can put your feet up. Opt for more space with the revolutionary Premium Economy Spaceseat™* or their fully lie-flat bed in Business Premier. Whatever cabin you can be sure of a unique Kiwi style and thoughtful touches and a crew which truly sets them apart. Helpful and professional, without losing that down-to-earth Kiwi touch. *Available on the daily 777-300ER service from London Heathrow to Auckland via Los Angeles only.

WIN FLIG NEW ZEAHTS TO LAND To be in with a chance to win return ﬂights for two people to New Zealand, ﬂying award-w inning Air New Zealand, log on to list.c o.uk/offers an d tell us:

How many New Zealand artists will be perform ing at this yea r’s Edinburgh Fes tival?

Find out more at airnewzealand.co.uk

Terms & Conditions: Competition closes 31 Aug 2014. Entrants must be over 18 years of age and have a valid passport. The prize includes two Economy return tickets from London Heathrow to Auckland, via Los Angeles, flying Air New Zealand, and a return connecting flight from Aberdeen, Edinburgh or Glasgow to London flying a partner carrier. The winner is responsible for paying all additional costs associated with the prize that are not specifically included (as stated in these terms and conditions), including (where applicable) transport, accommodation, meal costs, spending money, insurance, ESTA visa and all other incidentals. Prize travel must be taken by 30 June 2015 and is subject to booking and flight availability. Travel is not permitted between 1 August – 12 September 2014; 5 December 2014 – 14 February 2015 and 26 March – 12 April 2015. Travel must be booked and ticketed before 31st December 2014. The prize may not be converted into cash and is non-transferable. Air New Zealand reserves the right to substitute the prize in whole (or any of its components), with a substitute prize of equal or greater value. All Prize travel will be subject to Air New Zealand’s Conditions of Carriage to view visit http://www.airnewzealand.co.uk/ conditions-of-carriage . Airpoints Dollars and Status Points cannot be accrued on prize air travel. Please refer to Air New Zealand’s Privacy Policy at www.airnewzealand.co.uk/privacy-policy-highlights regarding the collection, use and storage of personal information. Usual List rules apply.

K L O F L A V I T FES

BEHIND THE JAMIE MITCHELL

JAMES SHAW

Fruitmarket Gallery manager on getting art into the space

Book Festival booksales manager on handling staff and authors

The process of an exhibition coming together can spread over a long timeframe. Early on it’s about broad strokes, but the closer it gets, it’s more about specifics and we’ll be talking to fabricators, transport companies and people working on it from different angles. One day, Jim [Lambie] and his studio manager came to visit and we just wandered around and put tape marks on the floor to give us an idea of density, and we talked in order to find out about the work. For one of his set-pieces, the distribution of the ladders and distribution of colour is important. You need a fairly robust idea of how it’s all going to look. From my point of view, I’m concerned with the nuts and bolts, but it’s always about putting the artist at the centre of our work. We want to make their experience of working here as important as the audience that’s coming in. In terms of getting the art in, there’s no secret ‘art entrance’ at the back. We talk about the triangle of moving art, so there are things that are heavy, things that are large and things that are fragile. You can generally accommodate two of those things at one time, but when you have all three, that’s when it gets tricky. But it’s all about flexibility.

We trade for 18 days a year, and in that time we turn over around £600,000 of books and merchandise. We’re independent booksellers and run the operation ourselves, so the profit goes directly back into the Book Festival. Part of the reason we are there is to bring in some income for the festival, but also to help people enjoy it while they’re there. We have roughly 800 events, but authors appear in different events, so there are logistical challenges in making sure we have the right things at the right place at the right time. The booksellers will come on site around 5 August and we then train them up. About 50% of the people we employ come back the next year, so either they have short memories or they really do enjoy it. At one of the signings last year we had Neil Gaiman and Margaret Atwood; they had a joint event but they have slightly different audiences and the trick is to keep everyone occupied. At one stage, we were overflowing on Neil Gaiman’s side of the queue and we had to juggle people to keep Margaret busy until it picked up again. At the end of the festival, I’m not thinking: ‘how can we do that better?’ I’m just thinking: ‘how did we do that?’

18 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

JULIA SUKAN/DRAW HQ

FESTIVAL FOLK

SCENES

It often seems that the Edinburgh festival experience is just about all those show-offs on stage trying to make us laugh or acting their hearts out or reading from their latest unit-shifting tome. But what of the hardworking people who burrow away far from the glare of publicity? We spoke to some of those who might not get the credit that their talents deserve, and yet whose work enhances the festival experience for all of us

IDIL SUKAN

CARRIE HUTCHEON

Fringe photographer on making publicity pictures tell a story

EIF head of stage management on sourcing some crazy props

I try to come in at an early stage as art director and create a visual coherence across all the marketing materials. Even if I’m just doing photography for a show, I try to develop a real narrative. We’re trying to create mini-universes that bubble up across Edinburgh because we want to build communities and fanbases around the show. On many occasions they’ll wear the same outfit on stage that we chose for the photo shoot, the same colours and the same props, all that kind of thing. Everything is very tailor-made, and while people say that they can spot my work and that it has a real visual identity, I still make sure that it’s as individually developed as possible for each performer I work with. So the picture I take for one thirtysomething male comedian I wouldn’t take for any other thirtysomething male comedian. I think we should push the standards every year to try and make the festival as exciting as possible. Ultimately there are entire careers on the line, and it’s horrible to see an identikit photo from someone who is spending thousands of pounds to be here and away from their family. You have a responsibility to those individuals who are here for a month and basically going to war.

Most of my stories come from going out to get stuff. There was a time I had to go and get a box full of cockroaches for an Argentinean show. I went to a butterfly farm, where I was taken to the counter and they said, ‘just take the ones you want’. I had to sit with them in the van and worry about them toppled over. On stage, they were dormant for a while, but then they had to run around on cue. So I had to learn that you can put them in the microwave for a while, and that makes them run around or put them in the freezer to make them docile. I’ve done a few shows where I’ve had to get a car on stage. One was for Peter Stein’s Blackbird. For the last minute of the play, there was a scene change into a car park and there was a specific car that I had to get. I then had to book a crane to get it on stage but then Stein changed something about the car so we had to get a different one. A lot of the time, situations happen because a company has forgotten to pack a hundred million peacock feathers or something like that. They call me the ‘head of the dressing-up box’, or ‘head of everything else’. list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 19

FESTIVAL FOLK

ANTHONY WRIGHT

JOANNA BOYCE

Barrhead Kid Co owner on creating bags for the Tattoo shop

Mela Kidzone curator on creating a theme

I am a tanner, and my family have been tanners for seven generations. We do quite a bit for the dance shoe business and Strictly Come Dancing has been very good to us; the UK dance shoe business is doing very well and that helps keep us up on the normal side of things. I started tanning Scottish deerskin which was all just going to waste otherwise, and I found myself making bags out of it. I started trying to sell the bags wherever I could. I was doing the Castle Terrace farmers’ market when someone from the Tattoo came and saw the bags and asked if I’d be interested in making bags for them. So, that’s how you get into the Tattoo. That was about six years ago, and I don’t think they were quite sure where they were going with merchandise back then, but this year they’re definitely going with it in a big way and we’re working very closely with them. They’ve been very supportive of us and we’re very grateful to them. Our product is 100% made in Scotland and the leather is Scottish. We’re doing an overnight bag and making satchels for them. There are a lot of satchels about and you might think that we’re coming late to the satchel, but it’s actually our biggest seller. The satchel is the must-have thing for women now.

We always have an environmental woodlands theme, and it always involves a journey that the kids make. They arrive at the entry zone and go through a series of arts and crafts activities and then return through an exit zone. There might be a passport theme where they’re going round the world, or a treasure hunt theme, or a nature-spotting theme. One of the main aims is to challenge the kids so they are coming in and trying something they’ve never tried before, or tasting something they’ve never tasted before, and meeting people they’ve never met before. We get them to stretch themselves a bit. It’s sometimes like weaving gold out of straw in terms of material. This year, the theme is animals that used to be in Scotland and have become extinct or are in Scotland and in danger of becoming extinct, so there’s the iconic Scottish wildcat, red squirrel and golden eagle. The fun bit is getting the design right. As co-ordinator, I have to think about anything and everything that might happen on the day, but I engage with the public and support the staff and run about doing all those unforeseen things that might happen. So on the day, I try not to give myself a role beyond troubleshooter and quality controller and generally smiling at everyone to keep them motivated and inspired. I’m continually running around, feeding people pieces of chocolate.

20 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

PICTURE: LINDSAY SNEDDEN

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D N A L A E Z NEW

CHEWIN’ THE FAT We kick off our coverage of New Zealand acts at the festival with an interactive zombie horror show. Before running for the hills, David Pollock sampled some undead delights with The Generation of Z

f the zombie genre didn’t keep coming back from the grave, we’d have to find a way to kill it. Myths of the undead have survived for longer than we might have realised (in Christian mythology for a start), but ever since George A Romero’s fresh horror take in the 1960s, it’s been accelerating at pace through films, books, games, comics, television shows, remakes and even the dependably weird Zombie Walks, with no sign of critical mass approaching. Yet New Zealand co-producers Royale Productions and Game Change finally seem to have discovered a new spin on an old trope. ‘As far as we can tell, this is the first interactive

theatre piece with zombies,’ says Charlie McDermott, producer of The Generation of Z. ‘There are tons of zombie runs and events like them, but none with a story or characters, or which offer a narrative that really places audiences into a world of zombies, as opposed to simply having them run around being chased. Also, a lot of those events are R18; we wanted to make something that you can bring your kids to, without making it “kiddie”. We want to give young people an arts experience without them realising they’re having one.’ The Generation of Z has previously been staged to sell-out seasons in Auckland and

22 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

Christchurch, and this is its first foray abroad following Royale’s absurdist Shakespearean one-man show No Holds Bard last year. That it’s appearing at the Edinburgh Festival Fringe is appropriate, because it’s an experimental piece despite the genre’s familiarity. ‘We want to produce exciting, visceral works that appeal to audiences not catered for in the traditional theatre marketplace,’ says McDermott. ‘The Generation of Z has been created for young people who love video games. We’re reaching out to our next generation of audiences using the interactivity and hyper-reality they’re now all accustomed to in their online lives.’

NEW ZEALAND

APOCALYPSE MAU U Before returning to Edinburgh, Lemi Ponifasio tells Kelly Apter about the many influences behind his new work marking the dark legacy of war

‘WE WANT OUR AUDIENCE TO BE EXHAUSTED, EXHILARATED AND RELIEVED’ It’s set in what’s described as ‘a site-specific abandoned military facility at the George Square Theatre’, and McDermott promises ‘an interactive, immersive horror-action play that invites audiences to participate with the cast as survivors of a zombie apocalypse. Audiences are asked to make decisions as a group, complete tasks and be guided by our military group of survivors in order to escape the zombies that surround the building. It’s an hour of thrills and spills (of blood).’ The story is everything here, and it’s through creators David Van Horn and Simon London’s ever-evolving show that the tension flows. ‘We want our audience to be thrilled and excited,’ says McDermott. ‘People love to be scared, and they love to be chased. We want our audience to leave feeling like they’ve never seen anything like this before and be exhausted, exhilarated and relieved. We want them to feel like they’ve completely lost touch with reality for the last hour. We want to provoke moral debate about the decision-making within the story, and for each survivor to compare their individual experiences. We aim to push our audience out of their comfort zones, and hope that this experience leaves them hungry for more.’ The Generation of Z, Assembly George Square Theatre, George Square, 0131 623 3030, 2–25 Aug (not 11, 19), various times, £12. Previews 31 Jul & 1 Aug, 9pm, 11.30pm, £8.

‘Inspired by’ is a loose term for many creators, but when Samoan-born choreographer Lemi Ponifasio talks about his influences, it’s best not to expect a literal representation. Ponifasio’s New Zealand-based d collective MAU was last seen at the Edinburgh International Festival in 2010, with Tempest: Without a Body and Birds with Skymirrors. Both pieces cited numerous influences, but ultimately Ponifasio’s deeply profound vision was the dominant force. During the creation of his new work, I AM, he was drawn to New Zealand visual artist Colin McCahon, French playwright Antonin Artaud and German theatre director Heiner Müller, alongside traditional chants and prayers. But again, the end result may feature little evidence of this. ‘Colin McCahon had his own personal struggle with life, and with his god and society,’ says Ponifasio. ‘His work reflects that struggle and what it means to exist. So that’s one small element that makes up I AM. I’m also using Artaud’s To Have Done with the Judgement of God and Müller’s Hamletmachine. But I’m thinking not just about these works, but how the world is right now. How we normalise war as a means of foreign policy or of justifying democracy.’ Like many events in 2014, the International Festival has World War I woven through it. But although Ponifasio is acknowledging this, celebrating victory is far from his mind. ‘Thousands of people from this part of the world died in that war,’ he says. ‘And there’s a pride in New Zealand, because somehow they discovered their nationhood in that disaster, which is why we have Anzac Day and things like that. And my attitude is that we should not define ourselves by the history of our disasters, but instead by what we can hope and imagine for ourselves.’ Q MAU: I AM, Playhouse, Greenside Place, 0131 473 2000, 16 & 17 Aug, 8pm, £10–£32.

KIWI SHOOTS

In theatre, literature, jazz, art and dance, some top NZ talents will be taking flight in Edinburgh ON THE UPSIDE DOWN OF THE WORLD Based on the memoir Our Maoris, this is the tale of a disabled English woman who went to New Zealand in the 1840s as the young bride of that country’s chief justice. Assembly Roxy, Roxburgh Place, 0131 623 3030, 2–25 Aug (not 11), 1.15pm, £11–£13 (£10–£12). Previews 31 Jul & 1 Aug, £8.

WITI IHIMAERA Three Book Festival events are scheduled for the 70-year-old writer whose Whale Rider was turned into a successful 2002 movie. According to The Oxford Companion to New Zealand Literature, he was the first Maori writer to pen both a book of short stories and a novel. Charlotte Square Gardens, 0845 373 5888, 15 Aug, 7pm; 17 Aug, 5pm; 18 Aug, 2pm, £10 (£8). THE TROUBLES Edinburgh-born jazz drummer John Rae leads his cohorts back to the motherland with sounds described as the ‘coarse to the sublime and the emotive to the absurd.’

The Jazz Bar, Chambers Street, 0131 220 4298, 24 Jul, 8.30pm, £10; 25 Jul, 11pm, £5; Tron Kirk, High Street, 0131 473 2000, 27 Jul, 10pm, £6. WHERE DO I END AND YOU BEGIN Five NZ artists are among those contributing to this cross-national exhibition ‘exploring the ideas, ideals and myths which underpin notions of community and common-wealth’. City Art Centre, Market Street, 0131 529 3993, 1 Aug– 19 Oct, Mon–Sat, 10am–5pm, Sun, noon–5pm, free. BLACK GRACE Neil Ieremia draws from his Samoan and New Zealand roots for the choreography behind this troupe he founded in 1995. The company has established an international reputation while telling stories entrenched in the South Pacific. Assembly Roxy, Roxburgh Place, 0131 623 3030, 2–22 Aug, 7.20pm, £14–£15 (£13–£14). Previews 30 Jul–1 Aug, £10.

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 23

31 July â&#x20AC;&#x201C; 31 August 2014

The UKâ&#x20AC;&#x2122;s largest annual festival of visual art, with over 45 exhibitions, new publicly sited commissions and a daily programme of events, tours and performances. Pick up your free guide and map from participating galleries. www.edinburghartfestival.com @EdArtFest

ART LIST.CO.UK/FESTIVAL/ART

1 AUG 31 JULâ&#x20AC;&#x201C;3

WHERE DO I END AND YOU BEGIN The Glasgow 2014 Cultural Programme comes east with this exhibition of contemporary art from across the Commonwealth. Taking its title from a piece on display here by Indian artist Shilpa Gupta, it also features work from South Africaâ&#x20AC;&#x2122;s Mary Sibande (pictured), Germanyâ&#x20AC;&#x2122;s Antonia Hirsch, Pakistanâ&#x20AC;&#x2122;s Masooma Syed and Nigeriaâ&#x20AC;&#x2122;s Mary Evans, as well as British artists Emma Rushton and Derek Tyman. Q City Art Centre, Market Street, 0131 529 3993, 1 Augâ&#x20AC;&#x201C;19 Oct, Monâ&#x20AC;&#x201C;Sat, 10amâ&#x20AC;&#x201C;5pm, Sun, noonâ&#x20AC;&#x201C;5pm, free.

Byrne fine art: Big Selfie; over the page from top, Moon, Swan, Marksman; Tilda; Dead End

26 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

JOHN BYRNE ART

HAIL TO THE MISCHIEF Whether he’s writing for the stage, making pop videos or painting self-portraits, John Byrne does it all with a twinkle in his eye. Neil Cooper meets a man who refuses to slow down

t’s sometimes easy to forget that John Byrne was a painter before he became a playwright. While he has earned a living as an artist since 1967, only latterly, it seems, has the Paisleyborn author of The Slab Boys Trilogy and TV comedy drama Tutti Frutti received acclaim for a body of paintings equally rich in baroque, multi-hued narrative. With Byrne’s recently unveiled mural for the auditorium ceiling of Edinburgh’s King’s Theatre cementing the importance of his criss-crossing relationship between stage and canvas, two major exhibitions this summer should remind audiences of the instinctive and audaciously good-humoured life which possess Byrne’s paintings. Sitting Ducks is a collection of some 50 largely unseen works at the Scottish National Portrait Gallery, but the 20-odd new pieces that make up Dead End at Bourne Fine Art should reveal where Byrne is currently at. Sitting in Edinburgh’s Filmhouse bar, the now 74-year-old Byrne appears to be in the rudest of health and even ruder humour. His checked three-piece suit and elaborate beard may give Byrne the air of a 1950s Soho dandy, but such apparel can’t hide the baritone lilt of a voice born in the rough Ferguslie Park area of Paisley. Nor does it disguise the twinkle of mischief that frequently lights up his piercing blue eyes. It’s a twinkle that’s the product of a misspent youth during the dawn of rock’n’roll, when the austere black-and-white post-war world turned technicolour. The painting that gave Dead End its title is a giveaway. ‘I painted a big watercolour, which is twice the size of this table,’ Byrne says, nodding at where we’re sat. ‘I had no idea what I was gonnae do, and I painted two teddy boys in big close-up, with exaggerated hair, and then I put in a cinema, the Astoria, behind them. Outside there’s a parked car; it’s my Riley from 1957 and there’s a guy dancing on the roof of it, and people running across the edge of the cinema roof. There’s a guy in a close nearby who’s about to stamp on a cat that’s looking out on us, blissfully unaware that there’s a family up the stairs watching him; and there’s a guy on a motorbike under the bridge that they’re standing on. The film that’s showing is Dead End, which was a Broadway stage play for which they built a huge gable-end on the stage. It was later made into a film with Humphrey Bogart where the Dead End Kids became the Bowery Boys; they were our heroes in the 1950s.’ This impressionistic autobiographical streak is key to Byrne’s work, dating right back to The Slab Boys in which lead character Phil McCann was a teddy boy who, like Byrne, worked in Stoddard’s carpet factory in Paisley while trying to get into art school. ‘I lived the life of a teddy boy in a complete slum, and it was so exciting,’ recalls Byrne. ‘Every new day was a total and utter joy. Writers use their own life, but very few painters do. They’ll use part of their psyche and try things out, but it’s no’ that entertaining. I want to entertain myself, and keep myself alive, thinking and constantly surprised.’ Other paintings in Dead End feature ‘a whole lot of narratives, which you’ll have to decipher, because I don’t start off with a theme. If you plan too much, you cannae wait to finish the bloody thing, whereas if you’re exploring it as you go along and things are revealing themselves, it becomes very entertaining, and you cannae wait to see what happens next. I trust my unconscious to do all that. It’s a good thing not to have any thoughts in your head, and just be knackered the whole time, because that’s when your unconscious takes over, and you’re just the robot who does it. It sounds fanciful, but it’s true.’ list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 27

ART JOHN BYRNE

‘WRITERS USE THEIR OWN LIFE BUT VERY FEW PAINTERS DO’ Byrne’s conversation is unguarded, discursive, occasionally scurrilous, and frequently peppered with little gurgles of laughter. As a child, Byrne lived in a permanent state of wonder that transcended his surroundings, even as he sought out worlds beyond them. Exposed to art at an early age, he fell in love with Titian and Salvador Dalí’s ‘Christ of Saint John of the Cross’, which he saw in Kelvingrove Art Gallery and Museum. Byrne lapped up the works of the great masters serialised through the Daily Express and spent hours in his local library. ‘And there was life itself,’ he remembers, ‘because you were playing all the time, inventing things, and the wireless was a great pictorial aid. I remember hearing Christopher Fry’s A Phoenix Too Frequent, which was absolutely spellbinding. My life was crammed with all this stuff. Then there was the life around me. We knew everyone in the entire street, and every one of them was a phenomenon. You didnae need to write anything. It was ready-made. Then when I was about 14 or 15, I had this unformed and unconscious realisation that I had all the information I needed to last me an entire lifetime. I couldnae put it into words, but my heart leapt with joy at the prospect of that. I was delighted and thrilled and astonished on a daily basis.’ After studying at Glasgow School of Art, Byrne had his first show in 1962 at Blythswood Square Gallery. It would be another five years, however, before he would find real acclaim, under the assumed name of Patrick, with works he somewhat fancifully claimed to be by his naive painter father. Byrne’s mischief worked, and in 1968 his next show was photographed by David Bailey for a piece written by Marina Warner, ‘who took me round the corner and bought me a packet of fags. I was enthralled.’ Byrne painted album sleeves for Donovan and his Paisley contemporary, Gerry Rafferty, and moved into stage design, creating Billy Connolly’s banana boots for The Great Northern Welly Boot Show in 1972, and the pop-up book set for John McGrath’s 7:84 production of The Cheviot, the Stag and the Black, Black Oil a year later. ‘The only time I could get to meet any other playwrights was by designing their shows,’ Byrne says. ‘I always went to the theatre. I slept through every production at the Citz, because I was always so knackered from painting. But I took it in by osmosis. They were always doing such wonderful things, a lot of which I couldn’t get a handle on because they were so obscure, but they were always great shows, with Philip Prowse’s design. They were never laid-back or unimportant. I got a great education at the Citz.’ Byrne’s first play, Writer’s Cramp, was a hit at the 1977 Edinburgh Fringe. It was The Slab Boys, however, which helped redefine Scottish theatre, with Byrne’s rich, pop culture-derived dialogue delivered with a music hall flourish. ‘I’m blessed that I can do the two things that entertain me,’ he says. ‘People who don’t know me at all say, “don’t you think of retiring?” You mean, die?’ Beyond Dead End and Sitting Ducks, Byrne has several theatre projects pending, and has just directed a video for American band Merchandise. Some new writing is also on the cards. ‘At the moment I’m all painted out,’ he says. ‘I’ve been painting morning till night seven days a week, and I need to give my mind and my imagination a break from all that visual stuff. But that won’t last. It’s when I’m working that I feel most alive.’ John Byrne: Dead End, Bourne Fine Art, Dundas Street, 0131 557 4050, until 30 Aug, Mon–Fri, 10am–6pm, Sat, 11am–4pm, free. John Byrne: Sitting Ducks, Scottish National Portrait Gallery, Queen Street, 0131 624 6200, until 19 Oct, Fri– Wed, 10am–5pm (6pm in Aug), Thu, 10am–7pm, free. 28 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

MANNA HOUSE ART

CAFÉ CULTURE Ahead of artist Alice Finbow’s residency at the Manna House bakery, we asked café lover and bon vivant Alice White to foreshadow this project by hanging out there for three days. Was it a period of revelation, restitution and reconﬁguration? Well, kind of . . .

n 1974, Georges Perec wrote the book An Attempt at Exhausting a Place in Paris, an observation collection of nothing much in particular. Filmmaker and photographer Alice Finbow is going to spend a week doing a ‘contemporary reconfiguring’ during the Edinburgh Art Festival. I’m doing a take of a take of that project because my dreams of becoming a crime scene investigator fell through several years ago.

DAY ONE I arrive at the Manna House. When does the musing begin? This is mainly people asking about feta, or people sighing at their toddlers, or people telling me I can’t sit here because they got there first. It’s all background rhubarb so I end up with intrusive thoughts about everyone else’s stream of consciousness and how meaningless individual human existence really is. I don’t get paid enough to face my own mortality so I go back to secretly watching people and eavesdropping as they talk about cake and divorce. I see a woman on her phone. She looks at me and I forget to stop looking at her. She awkwardly goes back to her screen-sized safe place so I decide to do a Twitter search to see if anyone’s talking about their experience from inside this building. I would then stalk them online, abusing their privacy-setting mistakes. No one’s saying anything, which is lucky for them. Lucky for humanity. I don’t know when it all turns into trying to access Steve Coogan’s voicemails. I’ll get the hang of this tomorrow. DAY TWO Finbow is going to be speaking to the patrons during her residency here so I should really try chatting to some people too. There’s a woman in front of me crying a little bit. ‘Are you

OK?’ I say. She nods and shifts her chair in a mind-your-ownbusiness type of way. There we go, interviewing complete. Somewhere, Paxman gets an uneasy feeling about job security. This is a very one-sided project. Not one single person even cares that I have dried blood splattering out the leg of my jeans from where I walked into a roadworks sign on the way here. While trying to scrape it off with my trainer, I watch a bunch of clean-looking English girls in their mid-20s discuss what sandwich they’re each going to have. You know the type; they’ve all got their natural hair colour and Orla Kiely purses. ‘What are you going to have?’ one asks. ‘I don’t know, what do you think you’ll have?’ I want them all to shut up so I can hear the old couple talk about how it would be quite exciting, in a way, to be on a cruise ship that was being chased by pirates. DAY THREE I look at the space on the wall where Finbow’s picture is going to hang. She’s going to draw her experience here in one long scroll which is quite nice. To mirror that, I sketch some stickmen talking about nothing in particular. As the father of people-watching, Perec commented that very little happens when you sit in a café for days on end. I hum the Seinfeld bassline while I give my stickmen thought-bubbles and accept that Finbow’s take might be a little bit more profound. But hey! The cakes here were just incredible. Alice Finbow: An attempt at exhausting a place (in Edinburgh), Manna House, Easter Road, 0131 652 2349, 4–10 Aug (residency), 11–31 Aug (artwork display), Mon–Sat, 8am–6pm, Sun, 9am–6pm, free. list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 29

ART TAMSYN CHALLENGER

SELFIE INTEREST

Tamsyn Challenger believes the internet’s democratic nature is largely a myth. She tells David Pollock that we are all capable of changing our online lives for the better

ince it was named the Oxford Dictionaries word of 2013, we’ve been witnessing the death of the selfie. Or, more accurately, that kind of cultural limbo where an idea flashes brightly in the collective consciousness for a while before its ubiquity makes it alltoo mundane. Regards the selfie, advertisers do it, your grandparents do it and upmarket newspapers report on it in jolly quotation marks. When Tamsyn Challenger first originated her project Monoculture, nobody knew what a selfie was: she had to keep explaining the word’s meaning when it appeared in this show’s debut staging back in early 2013. It was in 2010, when the Cornwall-based artist took over the administration of an online page for her 400 Women project, that she first became aware of such things. ‘In the two years I had my own profile on Facebook, I became increasingly uncomfortable about the prevalence of what’s considered to be the “digital face”,’ she says. ‘I started to notice the same submissive image largely, but not exclusively, taken by young women: an almost blanching of features, often making sure body parts were exposed. It seemed to me that despite

the overwhelming desire to be seen and leave a mark behind, everyone was attempting to erase themselves.’ Created during a residency at London’s Beaconsfield in 2012, Monoculture is a multimedia exhibition which engages with this new strata of social interaction, including, says Challenger, ‘ideas of societal homogeneity through social media and the selfie portrait, questioning the level of control being wielded by a supposedly “free” environment like the internet’. What will be on display sounds, if she’ll forgive the pun, decidedly challenging, including ‘large Cornish steel and timber sculptures that are based around pseudo-sexual torture devices painted in the trademark blues of Facebook and Twitter, which come together in a utilitarian playground. The installation is also made up of participatory experiments, skin suits, YouTube grabs, original video and stills of Monoculture “pop-up” events, and a small farm of the “cash crop” oilseed rape.’ She says the title is an agricultural term that identifies the industrial farming of a large scale single crop, in this case our own human identity.

30 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

‘Ideally I’d like people to leave this exhibition with a renewed sense of awareness in terms of their online activity, and to maybe even make other choices when they’re taking a self-portrait. It would be a sorry day if the only image left of humankind was the unnatural portrait that is the selfie.’ In her view, wariness about the supposedly benign and democratic nature of the internet and how we behave on it is essential. ‘I don’t think it is democratic,’ she says. ‘The reality is that the internet makes a lot of money and inevitably it’s now in the hands of people that can afford to control it. There’s a short Chomsky clip in the show in which he highlights the dangers of seeing the internet as a “free” environment. During my research I became uncomfortable about whether we’re wholly complicit as the user or just typing with a blindfold. I think the best thing all humans can do is question, and if we stop questioning we probably deserve to die out.’ Tamsyn Challenger: Monoculture, Summerhall, 0131 560 1590, 1–31 Aug, 11am–9pm; 1–26 Sep, 11am–6pm, free.

HIGHLIGHTS ART

OTHER HIGHLIGHTS

Dalziel + Scullion

Featuring the work of artists such as Alison Watt, Dalziel + Scullion, Isa Genzken and the American impressionists, we pick out other exhibitions that should be on your wishlist AUGUSTO CORRIERI AND VINCENT GAMBINI Could Augusto Corrieri be a fan of the Marx Brothers movie Duck Soup, with its famous mirror scene? After all, his video work, ‘Diorama’, features a human and a sheep copying each other’s actions over the course of seven minutes. And Vincent Gambini might well be the Derren Brown of the Edinburgh Art Festival what with his interest in magic and misdirection. Rhubaba, Arthur Street, 1–31 Aug, Fri–Sun, noon–5pm. FAILE & BÅST If you have an ambition to expand the appeal of art, what better way to attempt it than by gathering up some arcade games and inviting visitors to play on them. Street artist Båst and the FAILE duo of Patrick McNeil and Patrick Miller do just that as they blur the line between high and low art. Summerhall, 0131 560 1590, 1–31 Aug, 11am–9pm; 1–26 Sep, 11am–6pm. DALZIEL + SCULLION: TUMADH – IMMERSION Even 17 years on, only the coldest of hearts wouldn’t have a little smile to themselves when they pass The Horn on the M8. For their 2014 show, Dundee-based Dalziel + Scullion are digging deep and immersing themselves (and the watcher) into their natural environment with works such as ‘Hair’ and ‘Horse’. Dovecot Studios, Infirmary Street, 0131 550 3660, 1–31 Aug, 10.30am–6.30pm; 1–13 Sep, Mon– Sat, 10.30am–5.30pm.

ISA GENZKEN The German artist gives her first UK exhibition outside of London and shows why her fusion of photography, paint, architecture and found objects into the realm of sculpture has been so influential to generations of younger artists. Inverleith House, Inverleith Row, 0131 248 2849, 19 Jul–28 Sep, Tue–Sun, 10am–5.30pm. POETRY FOR THE PALACE: POETS LAUREATE FROM DRYDEN TO DUFFY With Carol Ann Duffy at the halfway point of her tenure as Poet Laureate, perhaps speculation will begin on who might be next in line. But for now, this exhibition explores the post with images of Dryden, Wordsworth and Betjeman among others. The Queen’s Gallery, Royal Mile, 0131 556 5100, 7 Aug–2 Nov, 9.30am– 6pm, £6.50 (£3.25–£5.90; under 5s free, family ticket £16.25). COUNTERPOINT Featuring work from artists such as Michelle Hannah, Alec Finlay and Ross Birrell, this exhibition seeks to broaden critical thinking about visual art. And once the festival is over, a forum will convene in the autumn to chew some fat over the issues. Talbot Rice Gallery, South Bridge, 0131 650 2210, 1–31 Aug, Mon–Fri, 10am–5pm, Sat & Sun, noon–5pm; 1 Sep–18 Oct, Tue–Fri, 10am–5pm, Sat, noon–5pm.

mirror stereoscopes, anaglyphs, phantograms and other experimental works will feature. Alongside them will be new pieces of painting, construction and photography created by Colvin in residence over the summer. Edinburgh Printmakers, Union Street, 0131 557 2479, 1 Aug–6 Sep, Tue– Sat, 10am–6pm. ALISON WATT: STILL A ten-year-old work commissioned for the Art Festival of 2004 by the Ingleby Gallery, Watt’s painting was influenced by her research into this church and its particular relationship between the living and the dead. Old Saint Paul’s Episcopal Church, 39 Jeffrey Street, until 31 Dec, 8am–6pm. THE KING’S PEACE: REALISM AND WAR The concept of modern peace is explored in this group show which also features work from Adam

Broomberg, Oliver Chanarin and Grupo de Artistas de Vanguardia. Each contributor assembles words and images in ways that question the illusion of reality which can seemingly be so easily achieved with the camera. Stills, Cockburn Street, 0131 622 6200, 1 Aug–26 Oct, 11am–6pm. AMERICAN IMPRESSIONISM: A NEW VISION Dividing up some late 19th century American artists (such as Frank Weston Benson and Mary Cassatt) into four groups, A New Vision shows how those US creators tackled the cult of impressionism, a movement which seemed particularly entrenched in European art circles. Scottish National Gallery of Modern Art, Belford Road, 0131 624 6200, 19 Jul–31 Aug, 10am–6pm; 1 Sep–19 Oct, 10am–5pm, £8 (£6).

All events on every day and free unless stated.

Frank Weston Benson

CALUM COLVIN: THE MAGIC BOX For his Magic Box mix of the old and the new, printmaking, ceramic works,

Augusto Corrieri list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 31

BOOKS LIST.CO.UK/FESTIVAL/BOOKS

9â&#x20AC;&#x201C;25 AUG

LAUREN CHILD

One of this yearâ&#x20AC;&#x2122;s guest selectors, multi-award winning author and illustrator Lauren Child takes part in three events. The creator of Charlie and Lola, and Clarice Bean discusses her gadget-heavy Ruby Redfort Trilogy (9 Aug), before chatting about childhood memory with Judith Kerr (9 Aug) as part of the childrenâ&#x20AC;&#x2122;s programme. And on the final day of the adult line-up, she appears with Nina Stibbe to chew some fat over place and character. Q Charlotte Square Gardens, 0845 373 5888, 9 Aug, 10.30am, 1.30pm, ÂŁ4.50; 25 Aug, 3.30pm, ÂŁ10 (ÂŁ8).

SUPPORTED BY

BOOKS CRIME FICTION

‘I HAD TO THROW SOME PUNCHES TO SHAKE OFF THE NICE GUY IMAGE’

34 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

CRIME FICTION BOOKS

WHY I TURNED TO CRIME

Claire Sawers chats to two new crime writers who are both trying to leave their past work behind. Tony Parsons and John Gordon Sinclair insist that death has become them

‘I

do love a bit of blood and thunder,’ Tony Parsons confesses. ‘Gore doesn’t put me off. And I like to know the proper way to slit a throat. It’s not some drunk hacking and chopping away at a neck; there’s a clinical, far more efficient way to do it.’ No, this has nothing to do with Parsons’ admission back in May that he is a UKIP supporter. The multimillion selling ‘men lit’ novelist and Sun tabloid columnist is talking about his new line of work: the much less sinister business of writing crime fiction. Although his political views could seem all the more gruesome in light of this recent career shift, he’s at pains to point out that, really, he’s just a fitness-obsessed family man who has buried himselff into the world of homicide detectives, autopsies andd w forensic pathology. All in the name of researching a new character, Detective Max Wolfe, star of his first crimee novel, The Murder Bag. Parsons, the ex-husband of Julie Burchill and one-timee punk reviewer at the NME, may be more famous forr writing loosely autobiographical relationship dramas such as Man and Boy and Man and Wife, but as a readerr he always enjoyed following in the crime footsteps of serial heroes like Inspector Rebus, Philip Marlowe and James Bond. ‘Someone like Jack Reacher is an amazing character; he’s the ultimate man alone. I liked the idea of creating a character that defends the weak, but is also rooted in reality, someone with domestic responsibilities and everyday duties. So Max Wolfe is single parent to a five-year-old daughter, with a dog too look after.’ It may be an unexpected left-turn in the writer’s career trajectory but, to him, it’s the best of several worlds. ‘There’s still plenty space in crime fiction to talk about what I want: politics, relationships, being a man. If anything there’s even more freedom. Doing all that in the context of a thriller makes it exhilarating forr me.’ So, as Wolfe scours blood-splashed crime sceness and visits the Metropolitan Police’s homicide divisionn he in its real-life HQ at 27 Savile Row, Parsons finds the space to drop in his commentary of London life. ‘London is my town and my neighbourhood,’ says ys ex, Parsons, who grew up in a council house in Essex, the son of a Navy commando and a dinner lady. ‘A lot ion of people don’t know there’s a massive police station ese right there in the West End. I like the idea of all these tourists walking around and eventually thinking of Max ible Wolfe in that part of town. We live in a time of incredible eing conspicuous privilege, which I don’t remember seeing before. So I wanted my writing to reflect that, and feel totally contemporary. After all, Raymond Chandler wasn’t writing about some retro, vintage version of Chinatown, he was writing about modern LA as he saw it.’ Meanwhile, a bit further along the shelf of your local crime fiction aisle, possibly filed under Tartan Noir, is Blood Whispers, a dark exploration of Glasgow’s criminal underworld. It’s a grizzly tale of human trafficking,

corrupt CIA officers and violent Serbian gangs. A face glares out from the book’s jacket; the author is dressed in black, with a shaved, scarred head. But wait, the face is familiar: it’s wee Gregory, the lanky schoolboy of Gregory’s Girl fame! ‘Yeah, of course, when I first started writing crime fiction, all everyone wanted to talk about was my acting, but that made sense,’ says Sinclair, who is a warm and candid interviewee. In fact, when it’s time to drive to pick his girls from school, he insists on putting the phone on speaker and continuing our chat about his painting, Scottish politics and books that make readers cry. He’s in his 50s now, married and living in Surrey, a stay-at-home dad to two daughters, yet still being asked to recite lines from the film he made back in 1981. ‘I knew I had to throw some punches if I was going to shake off the nice guy image and be taken seriously as a writer.’ Blood Whispers is the follow-up to Seventy Times Seven, Sinclair’s crime debut, a tale of contract killing and torture set during The Troubles. It was a labour of love he wrote without any book deal, because i just seemed like a good way of escaping the acting it w world. ‘I’d drop acting tomorrow if I could pay the mortgage,’ h shrugs. ‘Acting is really nowhere near the same thrill he f me as writing. Most people get depressed when they for d don’t get a job; I get depressed when I do get a job!’ S Still, he’s had some high-profile gigs, including acting aalo alongside Brad Pitt in World War Z, and award-winning mu m musical theatre roles in The Producers and She Loves M (later adapted into the film, She’s Got Mail), and is Me ret re returning to his hometown this November to play Jeeves G at Glasgow’s Theatre Royal. But clearly, acting doesn’t get his juices going the way that writing does now. ‘I not the same thrill for me at all. I remember first ‘It’s go going up to Edinburgh for the Book Festival [in 2012] wi my first book, and they introduced me as an author. with I’d never felt a thrill like it. It sounds wanky, but painting pi pictures in people’s heads is amazing.’ His first book w went down well and was praised as an assured debut, w which definitely took the pressure off. ‘It was a far better reaction than I’d ever hoped for, so t gave me a bit of confidence. I certainly didn’t suffer that f from “difficult second album” syndrome; this one felt much easier than the first. I think my wife [Glaswegian Shauna McKeon] used to think I sat in the corner, staring out the window all day. I kept telling her I was thinking. Basically, the writing has legitimised my daydreaming.’ Tony Parsons, Charlotte Square Gardens, 0845 373 5888, 9 Aug, 7pm, £10 (£8). John Gordon Sinclair, Charlotte Square Gardens, 0845 373 5888, 17 Aug, 8.30pm, £10 (£8). list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 35

BOOKS LOUISE WELSH & IRVINE WELSH

WELSH ASSEMBLY

Name Louise Welsh Irvine Welsh

Where are they now? Louise Glasgow Irvine Chicago and Miami

Date of birth Louise February 1, 1965 Irvine It’s unclear. 1951, 1958 and 1961 have all been quoted as possible years of birth. His official website sheds no light either, stating ‘he remembers little of the birth, though his mother assured him later that it was fairly routine’

Before becoming a writer . . . Louise ran a second-hand book shop on Byres Road in Glasgow’s West End Irvine was in a punk band in London, became a property speculator and then later worked for Edinburgh Council

Place of birth Louise London Irvine Leith

Number of novels published to date? Louise Six Irvine Nine

Where did they grow up? Louise Edinburgh Irvine Edinburgh, too; specifically, Muirhouse

First novel Louise The Cutting Room (2002): a riveting literary crime masterpiece with lots of graphic sex Irvine Trainspotting (1993): do we really need to tell you?

Are they related? Apparently so. In 2012, Irvine Welsh told men’s fashion journal Mr Porter: ‘her great-great-grandad and my great-grandad are the same person. And Louise’s mum and my mum are good friends’ Alma mater Louise University of Glasgow Irvine Heriot-Watt University 36 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

What the critics said Louise ‘The Cutting Room is a hugely commendable debut, assured and memorable. Crime fiction may have its prizewinner at last’: The Independent Irvine ‘Welsh writes with a skill, wit and compassion that amounts to genius. He is the best thing that has happened to British writing for decades’: Sunday Times

LOUISE WELSH & IRVINE WELSH BOOKS

Louise Welsh and Irvine Welsh are among modern Scotland’s top literary talents. If you’ve been paying close attention, you’ll also have spotted that they share a surname. Yasmin Sulaiman digs around for more astonishing coincidences between the pair

Most recent book Louise A Lovely Way to Burn (2014): set in pandemic-stricken London, the first in her Plague Times trilogy Irvine The Sex Lives of Siamese Twins (2014): trademark filth, but this time in Miami rather than Scotland What we said Louise ‘A solid, pacy murder-mystery, A Lovely Way to Burn will keep you hooked to the last page, even if it is unlikely to linger in your mind afterwards’ Irvine ‘Not even the Miami sunshine can diminish his darkly twisted view of the world. Female narrators authored by men can often fall into clichéd traps but they dazzle in this hugely entertaining read’ Other notable titles Louise Tamburlaine Must Die (2003), Naming the Bones (2010), The Girl on the Stairs (2012) Irvine Filth (1998), Porno (2002), Skagboys (2012) Any page-to-screen adaptations? Louise A film version of The Cutting Room, starring Robert Carlyle, was in the works for a while but has yet to emerge Irvine Most famously, Danny Boyle’s Trainspotting (1996) and most recently, Filth (2013) starring James McAvoy. There’s an adaptation of Porno in the works too, with Boyle directing once again

When they’re not at Charlotte Square, where will you ou find them? Louise At The Empire Café, a series of events that explore Scotland’s relationship with the North Atlantic slave trade. Part of Festival 2014, it’s being held at the Briggait in Glasgow from 24 4 July to 1 August Irvine Probably tweeting. Despite only having joined Twitter in February 2012, by June 2014, he’d already clocked up over 37,000 tweets. That’s a rate of about 44 tweets a day What else are they up to? Louise She’s written plays in the past, and even a libretto. You’ll sometimes hear her presenting radio programmes too Irvine Currently, he’s co-writing Higher, HBO’s upcoming sitcom about EDM DJs. Other names being connected to the show include Jay-Z, Will Smith, Jada Pinkett Smith and Calvin Harris On Scottish independence Louise ‘I think whatever happens there’ll be a big stooshie at the end’ Irvine ‘I think it’s inevitable it will happen. Whether it’ll happen this year or not, I don’t know. It’ll be a close-run thing’ Q Dialogue 1: Commonwealth (with Louise Welsh), 10 Aug, 7pm; Louise Welsh, 12 Aug, 6.45pm; Irvine Welsh, 22 Aug, 9.30pm; IDP2043 Part 2 with Denise Mina, Irvine Welsh and Friends, 23 Aug, 8.30pm. All events at Charlotte Square Gardens, 0845 373 5888, £10 (£8). list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 37

BOOKS JULIAN COPE

‘I CONSIDER MYSELF TO BE UTTERLY GNOSTIC’

38 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

JULIAN COPE BOOKS

EAST EASY WRITER When news surfaced that Julian Cope was writing his debut ﬁction, we all knew it would be no ordinary book. This modern antiquarian tells Fiona Shepherd just how far he threw himself into the novel

‘W

rite what you know’, goes the Mark Twain mantra for budding authors. So Julian Cope has written a debut novel about 80s and 90s rock stars, football tribalism and Neolithic portals in Sardinia. ‘If you’re going to be an author, people have really got to trust you and that’s what I’m about,’ he says. ‘The novel is all about people with their issues, and readers know that I’m not going to lay this crap on them unless I’ve truly interfaced with it.’ Cope first came to prominence at the turn of the 80s as the far-out frontman of Teardrop Explodes. When the band broke up after four chaotic years, this accidental pop star transformed into a shamanic solo artist. But over the past two decades, he has become more celebrated for his writings than his music, carving a highly respected niche as an author of assiduously researched specialist tomes on stone circles (The Modern Antiquarian, The Megalithic European) and heavy music (Krautrocksampler, Japrocksampler), which excavate his passions in forensic first-hand detail. His first foray into fiction is an uproarious Sardinia-set revenge thriller One Three One, named after the island highway along which most of the action takes place. It recounts the time-travelling exploits of a self-styled ‘80s musical burnout’ in a world where Jim Morrison is still alive and writing patchy poetry, where ancient Aberdonians invent football and where a glossary of the many and varied cultural references might have been handy. Cope expertly captured a riotous cast of characters in his autobiographical memoirs Head-On and Repossessed. Now he has invented another lot, including protagonist Rock Section, posh rapper Full English Breakfast and antagonist Judge Barry Hertzog who revels in his reputation as ‘the first indie football hooligan’. ‘I think that is something I got from my old drummer who’d been a Millwall hooligan,’ says Cope. ‘He wasn’t even really a drummer, he was an orchestral percussionist, so he was a reader of music and a cultured person and yet he was also an absolute maniac. First time he ever met my guitar tech who was an intense West Ham fan and about a foot taller than him, he walked up to him and said “I’ve kidnapped your kind”, so I thought there’s really something for me to understand here.’ The narrative also features cameo references to some of Cope’s

MUSICAL NOTES The ex-Teardrop Exploder isn’t the only sonic star popping our way. Here’s a further five with stories to tell AIDAN MOFFAT One half of Falkirk’s former indie cult band Arab Strap is here with his forthcoming first book. Not, as some might expect, an indulgence-fuelled rammy of excess and heartbreak, but a 54-page rhyming story about Mabel, whose dream is to get her hands on The Lavender Blue Dress ahead of her Christmas party. 10 Aug, 3.30pm, £4.50. VIV ALBERTINE Having formed a group with Sid Vicious in 1976, Albertine then joined the Slits and was guitarist for one of the punk era’s most influential bands. Her memoir will chime with anyone who lived through that helter-skelter period and can still remember the safety-pinned anarchy that reigned across the UK. 10 Aug, 8.30pm, £10 (£8). MIO SHAPLEY Having first performed piano in public at the tender age of three, harpist Shapley now plays regularly at some of the swankiest hotels in Edinburgh. She’s also a skilful storyteller and here will be spreading wisdom, wonder, mystery and magic as well as showing off her talents on the clarsach. 13 Aug, 2pm, £4.50. GRUFF RHYS Another indie hero pops up, this time it’s the Welsh chap behind Super Furry Animals. In American Interior, Rhys retraces a late 18th-century journey to the US made by Snowdonia farmhand John Evans, wondering along the way just what is it that possesses humans to take on certain madcap projects. 22 Aug, 8.30pm, £10 (£8). JAMES RHODES This virtuoso pianist had nothing like a normal childhood, and in his memoir Instrumental, he details some pretty horrible stuff which ultimately fed into his adult life. But in among the misery, he is able to reflect upon the therapeutic power of music. 24 Aug, 3pm, £10 (£8). Q All events at Charlotte Square Gardens, 0845 373 5888.

actual musical contemporaries, blurring the lines between his real and imagined worlds. Half Man Half Biscuit, we know. But Kit Kat Rappers? Skin Patrol? ‘Skin Patrol were real,’ he confirms. ‘And they did sound like an awful version of Orange Juice.’ Sure enough, there’s an online live recording of a song called ‘Rock Section’. Little did they know . . . These days, Cope says he enjoys listening to music more than making it, though he still produces a steady stream of stoner and psychedelic rock releases in a number of guises. Thorough as ever, he even wrote all the madeup music in the novel. ‘I consider myself to be utterly gnostic in my writing,’ he says. ‘So in order to believe in these bands, I had to form them. I figured if I was going to write a soundtrack, it had to be as extreme as you’d imagine those bands would be.’ At the height of Teardrop Explodes mania, Cope appeared on Top of the Pops on acid (where he was entranced with Bucks Fizz) and has had many freaky adventures while high. His academic work has been a model of learned sobriety, but admits that he wrote One Three One while stoned. ‘First time I’ve ever written under the influence, and I felt I needed to be,’ he says. ‘Some of the states you have to be in to write something that evil, y’know? They say that the druids of the Iron Age spent 20 years in their colleges learning all the secrets. I’ve spent the last 25 years trawling around the British Isles and Europe learning all these hard-earned peripheral secrets and I figure I’m just going to distil them and throw them into some fiction.’ Cope had such a blast writing the novel that he is already planning a prequel-sequel. In addition, his Lives of the Prophets is still in the works and he is already eyeing up a possible Neolithic study of Aberdeenshire. ‘I couldn’t have written this novel without knowing huge amounts about Aberdeenshire and Sardinia,’ he says. ‘Nobody else has become so enthralled by their environment as I have with those two places. Both of them are the product of obsessive mindsets.’ Spoken like a man who’s been there and done that. To quote his own Twain-like mantra: ‘unless you go, you can’t know’. Julian Cope, Charlotte Square Gardens, 0845 373 5888, 15 Aug, 9.30pm, £10 (£8).

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 39

BOOKS HIGHLIGHTS

OTHER HIGHLIGHTS Charlotte Square Gardens will be buzzing with the words of homegrown authors such as Alan Warner and Denise Mina plus some top writers from further afield JACQUELINE WILSON Comedians are generally warned off doing material about cats and dogs, but in kids’ fiction, there’s no such thing as a hack subject. Paws and Whiskers is a collected anthology from the former Children’s Laureate of some top stories about felines and canines, featuring bits from Lewis Carroll and Charles Dickens. 10 Aug, 11.30am, £4.50. RICHARD BACON The popular broadcaster who earned plaudits by playing a version of himself in one episode of The Thick of It has just published A Series of Unrelated Events. This memoir-of-sorts selfdeprecatingly paints him in a rather jokily bad light, while trawling through some darker events including the one that left him feeling he had betrayed the nation’s kiddiewinks. 14 Aug, 8pm, £10 (£8). DENISE MINA

Crime fiction scribe, documentary maker, graphic novelist, cultural commentator. Is there anything this woman cannot do? Her latest tale, The Red Road, is a visceral read about a double murder and the teenage prostitute who committed it. Mina sets out a moral maze and gets her readers to tiptoe their way ever so gently through it. 15 Aug, 8.30pm, £10 (£8). EDWIN MORGAN POETRY AWARD A firm favourite of the Book Festival, Morgan was arguably the country’s finest poet over the last 100 years. One of his legacies is a prize which rewards verse writers under the age of 30 and this event features the shortlisted writers giving a reading, with the winner being announced later. Jackie Kay will undertake the presenting duties. 16 Aug, 6.45pm, £10 (£8). 40 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

BONNIE GREER The UK-based US critic and author is best known to many as either the person who stood up to Nick Griffin on Question Time or the commentator who regularly talked sense on The Late Review (or whatever it happened to be called that month). Now she has the first part of her memoir out with A Parallel Life taking us up to her arrival in 1980s New York. 19 Aug, 3pm, £10 (£8).

DAVID PEACE ALAN WARNER One of the country’s most talented authors (and arguably one of its most neglected geniuses), the Obanite is back on top form with Their Lips Talk of Mischief. He’s moving slowly back in time here to the Thatcher era with the misadventures of a set of nohopers in Acton. 21 Aug, 7pm, £10 (£8).

It’s somewhat ironic that Peace should have brought out Red or Dead last summer. His true-fiction tale of legendary Liverpool FC manager, Bill Shankly, was published just as that club embarked on their most successful league season for a couple of miserable decades (we’ll see how they get on without the services of the Uruguayan cannibal at the start of next term). Now the paperback is here and at just over 700 pages it is, literally and otherwise, a real heavyweight read. 16 Aug, 7pm, £10 (£8). DIANA GABALDON She’s written introductions to classic works by Walter Scott and Thomas Paine, and created the Lord John Grey series, but it’s for the Outlander books that she has made her name. And how galling will it be for some writers that Gabaldon started those books merely as a means of practising how to write. 18 Aug, g, 3pm, p , £10 (£8). ( )

HARUKI MURAKAMI These events have got many people frothing with excitement as the Japanese author shows up with his new novel, Colorless Tsukuru Tazaki and His Years of Pilgrimage, looming on the horizon. The former jazz bar owner has achieved great literary status for Norwegian Wood and The Wind-Up Bird Chronicle and his new work is unlikely to dampen that. 23 Aug, 3pm; 24 Aug, 6.30pm, £10 (£8). PETER ROSS With Daunderlust, the Glasgow-based writer and journalist has compiled some dispatches from a hidden Scotland, featuring the kind of places and people who don’t often get exposure in the media. From operasinging chip shop owners to the wild ladies who turn up at the races, Ross uncovers sides to this nation that reveal much about who we are today. 25 Aug, 8.30pm, £7 (£5).

All events at Charlotte Square Gardens, 0845 373 5888.

Haruki Murakami

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NICK HELM

Weâ&#x20AC;&#x2122;ve recently seen a somewhat gentler side to the manic Nick Helm through the lovely BBC sitcom Uncle. But for two nights at the mighty Pleasance Grand, the Helmster will be digging out the mad stuff again for a pair of two-hour sessions. Thatâ&#x20AC;&#x2122;s four hours in total, people! Music will be guaranteed; some exposing of soft flesh might well be in there too. A certain amount of sweating? Check. And, of course, there will be a lot of shouting. Really, quite a lot. Itâ&#x20AC;&#x2122;s a big room, so letâ&#x20AC;&#x2122;s hope the mics donâ&#x20AC;&#x2122;t pack in. Q Pleasance Courtyard, Pleasance, 0131 556 6550, 11 & 12 Aug, 11pm, ÂŁ15.

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44 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

This page, Wild Card Kitty; opposite, EastEnd Cabaret, Miss Behave

CABARET COMEDY: FRINGE

JOIN THE CLUB From a cappella aliens to renegade game shows, modern cabaret is both weird and wonderful. Kirstyn Smith talks to those who will be setting the Fringe aﬂame and asks what their chosen artform means to them

‘L

iza Minnelli and Bob Fosse? A mixed bill of burlesque, circus skills, singing and comedy, aka variety? Singer droning on about the Weimar Republic? A renegade night of genius at the end of a festival day? This, and not yet this.’ Such is Miss Behave’s definition of a tricksy genre. Too cool for theatre, too kitsch for comedy and perhaps too sumptuous for dance, cabaret is a difficult one to define. Its inclusion in 2011’s Edinburgh Fringe brochure as a category in its own right for the first time solidified the genre’s mainstream appeal while maintaining its captivating un-pindownability. Among the 1000-plus shows nestled in this year’s cabaret pages, festivalgoers are offered burlesque, musical comedy, aerial circus, acrobatics and everything in between. Ranging from Tomás Ford’s ‘electronic cabaret’ Stop Killing People, to slapstick diva Amy G in Entershamement, pickings are rich. ‘It is performance that is actually enhanced when something goes tits up,’ says Miss Behave. Influenced by everyone from Malcolm Hardee to Dean Martin, and AbFab to Richard Pryor, her new Fringe hour Miss Behave’s Game Show is, by her own admission, perhaps more suited to the comedy category. ‘Everything is cyclical and there has been a lot of genre bleed across singing, variety, cabaret and comedy. Mine is a renegade game show for the austerity generation. It’s a reaction to the slick and earnest high production populating the world of entertainment today. So I’ve made a deliberately lo-fi, silly and audience-centric bag of fun. Stand-up comedy in its purest form – man and mic – has been so televised, diluted and over-saturated that people are looking for something more.’ Despite being married to stand-up Mickey D, Boo Dwyer’s comedic world craves a bit more bite. Hard Time, the latest Titty Bar Ha Ha show, doesn’t shy from comedy, but slathers its smut, fun and high-end filth with a hint of the macabre. ‘It’s Shawshank Redemption meets Prisoner Cell Block H via Johnny Cash, in disco pants saying “fuck” too many times.’ Dwyer’s journey was a roundabout route through satire and one-woman shows before she discovered that her heart belonged to cabaret. ‘I hit 30 and realised that the world was serious enough, and that life was much more fun if I could write songs, dance in my pants and travel the world.’ This escapism is not only beneficial for the performer, Dwyer maintains, but

for the audience as well. ‘People need a temporary release from the “real”. Cabaret not only does this, but often holds a light up to situations that may have been dusted under the carpet. Or if you don’t want to travel down that path, it just gets you the hell out of Dodge for an hour or two.’ Like Dorothy’s emergence in the magical land of Oz, cabaret as an escape into another world is a theme that the Voca People jump on and run with. ‘The show tells the story of aliens crash-landing on Earth and in need of musical energy to recharge their spaceship,’ explains their producer Lior Kalfo. ‘All the music is performed a cappella combined with modern human beatbox. It is an outsider’s loving view on the great music on our planet, as performed by aliens.’ An eight-strong outfit, bedecked in dazzling white plus bald caps, the Voca People provide an otherworldly experience. Immersing the audience in incredible harmonies, they run the gamut of popular music, educating themselves in the likes of Michael Jackson, Lady Gaga, Mozart and Madonna. ‘I think that the set of skills required from a cabaret performer is extraordinary,’ Kalfo continues. ‘In our show we describe them as “out of this world”, not only because the show is about aliens, but also because of the talent required to perform the show: extraordinary singing, dancing, acting and comical skills.’ Alessandro Pietrolini, creator and director of Sonics in Duum describes his main influences as ‘the world of nouveau cirque, aerial acrobatics disciplines, visual art and theatre’. The Italian performing arts troupe are ethereal and eerie, and their new show also delves into the world of otherness. The underworld Pietriolini has created is inhabited by settlers who retreated to the centre of the Earth to seek refuge from the cruelty above. ‘However, they start to feel suffocated in this new underworld that destroys their emotions. That’s why [protagonist] Serafino tries to convince his companions to return.’ Not all cabaret is so deep. Dixey’s new show, Where Gentlemen Are Always Immaculately Undressed offers a look at the world of burlesque irrespective of gender. Featuring a cast of award-winning performers, they are an equal opportunities employer and dedicated to skilled fun. ‘For the most part, cabaret is self-created and therefore is without the usual restraints of the mainstream,’ says Dixey producer Sean Mooney. ‘That makes it a perfect way for people to express themselves. It’s free speech with glitz and glamour.’ list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 45

FRINGE:COMEDY CABARET

‘CABARET IS FREE SPEECH WITH GLITZ AND GLAMOUR’

Clockwise from top: Titty Bar Ha Ha, Dixey, Voca People, Sonics

FOSTER'S proud sponsors of the FOSTER'S Edinburgh Comedy Awards at the Fringe Festival. Get your laughing gear ready for a great festival in 2014! @comedyawards

And then there’s EastEnd Cabaret, the debauched double co act comprising Bernadette Byrne and Victor Victoria. ‘If your aaim is to provoke, entertain and defy genre boundaries, m you might well identify as a cabaret performer,’ explains Victor Victoria. ‘Cabaret should be daring and fun. Or strang Or silly. It is inclusive and undefinable.’ strange. The duo make no bones about getting intimate with their audiences: as well as dark and dirty songs, there is straddling and no small amount of inappropriate touching. ‘We are so isolated in a lot of ways and in our show we encourage our audiences to get to know each other,’ says Byrne. ‘People are open to being pushed out of their comfort zone, which I enjoy. I want them to leave feeling a little turned on.’ While Wild Card Kitty’s The Showgirl Show is deadpan satirical character comedy, her views on the importance of cabaret in today’s society are serious. ‘Cabaret is fast emerging as one of the last stops of free speech. It peels back the veneer of the plastic-coated, photoshopped concept we have of state-sanctioned perfection and mocks the stupidity of it. Cabaret is vital and, frankly, keeps shit real. It developed at a time of political unrest as a way for people to lampoon the “powers that be” and burlesque has been around since Grecian times as a form of parody and mockery. I think they’ve come to the fore again for these same reasons: people are tired of being marginalised and lied to by the government.’ While no doubt socially important, politicising cabaret is not for everyone. ‘I don’t come point-of-view first; I come agenda first,’ insists Miss Behave. ‘I think my aesthetic and my attention to detail will demonstrate a space for people to pop an agenda on it, but I don’t need you guys t o come along and listen to “what I think is wrong with the world”. I think the world is going to hell in a handbag, and my work does express that, but I don’t feel the need to even say it.’ From inducing laughter, to acting as a

46 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

means of escapism, to portraying the world in a different light: cabaret truly is a mixed bag of tricks and perhaps one of the few genres that can honestly boast something for everyone. Its importance, however, cannot be understated. ‘People like labels and boxes and cliques, but while this can be nurturing and supportive, it can also be misleading and unhelpful to the work,’ concludes Miss Behave. ‘What we need to do is re-market “going out”. What would get you, the reader, out of your house and buying a ticket right now? A random show you know nothing about? A famous comedian? Something a trusted mate of yours raved about? Or are you just going to stay at home and watch Game of Thrones? Tricky, innit?’ Miss Behave, Bob & Miss Behave’s Bookshop, Holyrood Road, 0131 226 0000, 3–25 Aug, 9.20pm, £5. Previews 31 Jul–2 Aug, £2.50. Tomás Ford, Mash House, Guthrie Street, 0131 226 0000, 1–24 Aug (not 12), 9.40pm, £9–£10. Preview 31 Jul, £6. Amy G, Underbelly, Bristo Square, 0844 545 8252, 2–25 Aug (not 12, 19), 11pm, £10–£12 (£9–£11). Previews 30 Jul–1 Aug, £6. Titty Bar Ha Ha, Gilded Balloon Teviot, Bristo Square, 0131 622 6552, 2–24 Aug (not 11, 18), 10.45pm, £11–£13 (£9–£11). Previews 30 Jul–1 Aug, £5. Voca People, Pleasance Courtyard, Pleasance, 0131 556 6550, 2–25 Aug (not 12, 19), 6pm, £12.50–£16 (£10.50–£14.50). Previews 30 Jul–1 Aug, £8. Sonics, Gilded Balloon Teviot, Bristo Square, 0131 622 6552, 2–23 Aug (not 12), 4.30pm, £10–£11 (£9–£10). Previews 30 Jul, 1 Aug, £5. Dixey, Assembly Roxy, Roxburgh Place, 0131 623 3030, 2–24 Aug (not 11), 10.10pm, £13–£15 (£12– £14). Previews 30 Jul–1 Aug, £7. EastEnd Cabaret, Underbelly, Bristo Square, 0844 545 8252, 2–25 Aug (not 11), 8pm, £10.50– £11.50 (£9.50–£10.50). Previews 30 Jul–1 Aug, £7. Wild Card Kitty, The Phoenix, Broughton Street, 0131 557 0234, 31 Jul–24 Aug (not 12), 2.30pm, free.

#JMM $MJOUPO )FSDVMFT

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 47

FRINGE:COMEDY GLEN WOOL

‘I MIGHT BE A NORSE GOD!’ Comedy troubadour Glenn Wool is reﬂecting on his 20 years of stand-up to produce a greatest hits set. Jay Richardson wonders where he draws the line between truth and myth

FOSTER'S proud sponsors of the FOSTER'S Edinburgh Comedy Awards at the Fringe Festival. Get your laughing gear ready for a great festival in 2014! @comedyawards

f no fixed abode, Glenn Wool is one of a select band of stand-ups who ply a global comedy circuit, travelling continent to continent, acquiring cautionary tales of exotic misadventures and invasive customs officials as he goes. Just back from Japan when we speak, the 39-year-old Canadian is preparing to perform in Estonia, land of his forefathers, where he’ll visit the ‘Vool’ ancestral island home and ‘commune’ with his past. ‘Many historians believe it’s where the Vikings thought Valhalla was, so I’m going to investigate,’ he explains. ‘I might be a Norse god!’ At the Edinburgh Fringe, he’s presenting Wool’s Gold, a compilation of the best routines from his 20-year career. He’s grown ‘mildly concerned at how many paedophile and Holocaust jokes’ he’s written in that time. ‘I’m not making fun that the Holocaust happened,’ he states. Rather, his stand-up is a ‘magnifying glass on the extremes of human behaviour.’ And besides, as a Viking-blooded vagabond, he wonders if ‘inappropriate jokes sort of fill the role of sea shanties, you know? Sea shanties weren’t just dirty songs, they were a way of teaching people who weren’t highly educated that murder and rape was wrong.’ He checks himself to admit: ‘I’m not sure that’s actually right. But I reckon there are large parallels with primitive sailing in my job.’ Wool remains confident that he and a hardy band of fellow comics, including Stewart Francis, Craig Campbell, Rhys Darby and Simon Evans can break the record for the world’s highest land-based gig when they trek to Mount Everest’s base camp in October. That’s despite the avalanche which killed 16 Sherpas in April, a kidney infection and a severely sprained ankle he picked up in an Amsterdam whisky bar with Phil Nichol and Paul Myrehaug. Later, the roistering Canadian comics

48 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

would compete in magic mushroom-fuelled wheelchair races while in hospital. Revisiting his old material, Wool is discovering that ‘jokes I thought were great aren’t that good, whereas some that felt like filler, with an elder’s eye, I’ve realised are great. I just wasn’t good enough to tell them at the time.’ For him, there’s no wrong subject matter and he’ll justify anything he says on stage. ‘If you’re overly sensitive then it’ll probably upset you. But then, what are you doing at my show?’ He’s equally outspoken in his regular podcasts with Frankie Boyle but they’re scrutinised by lawyers before being released. ‘Frank has a considerable amount to lose,’ he notes, chuckling that he’s not worried about being sued himself, grandiloquently feigning horror that ‘they might take all of my suitcases!’ The pair are currently in discussions with the BBC about working for the corporation. But after Wool’s History Channel show concerning how the rich got rich fell through at the last minute in the US, and his contributions to Boyle’s Channel 4 show Tramadol Nights never made it to screen, he’s begun to think of himself as a liability with producers. ‘Me and Frankie realised that if we make our own albums and put them on the internet for free, the only editor we have is ourselves,’ he says. ‘We’ll sit down every couple of weeks and record an hour every day, sometimes two. Then we edit it down. The first thing that goes is all the slagging of other comedians. If we ever released that we wouldn’t have a friend in the industry!’ Glenn Wool: Wool’s Gold, Underbelly, Bristo Square, 0844 545 8252, 2–25 Aug (not 11, 18), 9.30pm, £13–£14 (£12–£13). Previews 30 Jul–1 Aug, £7.

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The New York Times

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0131 556 6550 www.pleasance.co.uk

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 49

FRINGE: COMEDY ROB NEWMAN

SCIENCE

FRICTION

‘DARWIN WAS SUPPOSED TO HAVE ABOLISHED THAT IDEA’ Mr Serious might be back in town, but Rob Newman is happy to indulge his sillier side. He tells Brian Donaldson why taking down Richard Dawkins is just funny

FOSTER'S proud sponsors of the FOSTER'S Edinburgh Comedy Awards at the Fringe Festival. Get your laughing gear ready for a great festival in 2014! @comedyawards

ob Newman has a theory. Contrary to popular scientific scripture, it’s not the fittest who will survive this harsh thing we call life, it’s the misfits. This is the idea that powers his formalforenamed touring show, Robert Newman’s New Theory of Evolution, which he is now trimming down for an hour-long set at the Fringe. But like all good comedians who are into this science stuff, Newman is continually questioning his own standpoints. ‘In some bits of life you’re a misfit and in other bits you do fit, we’re all a mixture of those things,’ he says when asked if he considers himself one of life’s misfits. ‘I was really thinking that in nature, the least adapted in the history of evolution have an advantage because once the habitat changes radically, they can survive. But I’m suspicious of this whole romantic idea of the misfit, that James Dean thing: “just get your cowboy boots off the coffee table and be nice”. And anyway, that whole misfit-as-bad-boy thing was already properly parodied by Wham!.’ Given the ferocity with which he leads his staged assault on him, perhaps Newman considers goddelusion banner man Richard Dawkins to be one of those bad boys. In his show, Newman fantasises about a rather mean-spirited Dawkins being extremely curt with his postie before the pair of them have a wrestle on the doorstep. ‘My argument is that what he is saying has nothing to do with the origin of species and lots to do with original sin,’ insists Newman. ‘His idea is quite a virulent attack on Darwinism and it has no basis in the science. It’s not just me saying that, it was Stephen Jay Gould, and philosophers at Harvard and in Britain saying that. Dawkins holds this ideological position and, in some

50 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

ways, quite a religious position about this idea that there’s a split between your body: this dirty unclean biological self and your soul. Darwin was supposed to have abolished that idea.’ If all this sounds like it might be a little too heavy on your brain, don’t worry. While Newman certainly wears intelligence on his sleeve, he’s both winningly self-deprecating about his ‘turgid, overly theoretical stuff’ and far from immune to the vagaries of silliness. It’s hard to take yourself too seriously while picking up a ukulele. And then there are the impressions. In the 90s, Newman was pleasing fans with Antoine de Caunes and Ben Elton take-offs; now he’s perfectly mimicking the likes of Ronnie Corbett and Alec Guinness. ‘I was doing what I thought was a very good Gary Oldman version of George Smiley but people thought it was Professor FJ Lewis from History Today, so I just turned it into Alec Guinness.’ Given that Newman once strode out alongside David Baddiel into a sold-out capacity Wembley Arena in front of 12,000 screaming admirers, it’s always worth asking him about venue spaces. For the month of August, he’ll be taking up residence in a 150-seater Mongolian yurt on St Andrew Square. ‘Tents are notoriously hard,’ he admits. ‘I remember when Eric Bogosian had a tent adjacent to Malcolm Hardee who kept complaining that Eric was making too much noise. So a naked Malcolm drove a tractor into the tent while Eric was in the middle of his set.’ The classic case of a naked jape. Robert Newman’s Theory of Evolution, Stand in the Square, St Andrew Square, 0131 558 7272, 1–25 Aug (not 4, 11, 18), 8.30pm, £12 (£10).

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0131 556 6550 pleasance.co.uk 0131 226 0000 edfringe.com mickperrin.com comedystoreplayers.com

paulmerton.com Photo: Caroline Webster

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THE PIN COMEDY: FRINGE

WHAT’S THE

POINT? The Pin boys tell Brian Donaldson that sketch comedy is just plain silly and lacks importance. That hasn’t stopped them being brilliant at it

f you consider some of the great double acts in comedy history, you might notice a significant disparity in height. Vic Reeves towers above Bob Mortimer; not for nothing did Eric Morecambe continually call his partner Little Ern; and Bernie Winters was constantly having to bend down to get any banter out of Schnorbitz. Yet, The Pin pair Alexander Owen (blonde, 6ft1) and Ben Ashenden (brunette, 6ft2) are almost identical in height: ‘We can buy similar props and coats and we’re never looking down on each other,’ insists Ashenden as though it was some kind of fully planned strategy. A further curiosity are their forenames, which they share with another double act, albeit one further along the career trajectory: ‘It was a cynical move from Armstrong and Miller to have those names,’ insists Owen while Ashenden claims, ‘at one point we were going to change our name to Armstrong and Miller.’

At this blatant falsity, Owen curtly castigates his stage buddy and flatmate in a way which would be familiar to anyone who witnessed their show last Fringe. Similar to other double acts down the decades, we were led to believe that Owen is the sensible practical one with ambition and verve, while Ashenden is the ditzier, clumsier, oafish one. By the time the hour was done, the playing field had levelled off, with Owen revealed as delusional and equally as daft as his comrade. This time around though, things are going to be different. ‘Last year there was the whole narrative element that my character wanted us to go to the West End,’ recalls Owen. ‘There isn’t anything like that this year and it’s all just part of this being an hour in our company; it’s just these two idiots messing around. If there’s anything unifying it, it’s that coherency of a childish approach; these two guys are clearly in their mid-20s, so why are they just messing around being so weird?’ list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 53

FRINGE:COMEDY OMEDY EDY DY THE T PI PIN N

TOP 5

NEED AN AND? Here’s a fivesome whose names don’t suggest ‘double act’

‘THEY DO REALISE THAT THEY’RE BOTH IDIOTS’

FOSTER'S proud sponsors of the FOSTER'S Edinburgh Comedy Awards at the Fringe Festival. Get your laughing gear ready for a great festival in 2014!

Ashenden continues: ‘We found that we could do more if the two guys on stage actually like each other rather than bickering all the time. So we’re playing around with that this year; they’re both idiots but they do actually realise that.’ Originally, The Pin was a trio straight out of Footlights, and strong consideration was given to picking a new name in the light of this numerical change (though Armstrong and Miller was truly never an option). But they stuck with The Pin, just as they have opted not to give this year’s Fringe show any kind of clever and / or funny title. ‘We’d like to say it’s for cool reasons, but it’s more out of laziness,’ confesses Ashenden. ‘It’s just called The Pin, again. Some people will feel that that’s cool. Others will realise that it’s a lack of invention but it’s as much a fear of branding the show too early in case we wanted to take it into a certain direction. But if we had come up with a really funny name we would have gone for it.’ One thing that the pair will be going for is a certain level of intimacy with their audience. Given the cosy room they were in last year, they admit that it would have been more awkward not to have had any front-row interaction. So even though they’ve been upgraded within the Pleasance Courtyard venue system, their involvement with the crowd is more of a lifestyle choice. ‘The act is going more and more into that direction,’ says Owen. ‘In the new show there aren’t any self-contained sketches, everything involves an address of the audience. Last year we would chat, have a blackout, do a sketch, have another blackout; this time it’s incredibly fluid and it’s all very “present”, if that’s not too wanky sounding.’ As with each Fringe that passes, there’s often a call from those who think sketch comedy died with the League of Gentlemen or We Are Klang that it’s on the way back. Or those who are happy with the genre’s development might insist that this year will be even bigger and better for the form. Indeed, good things are being said already about newcomers such as Gein’s Family Giftshop, Lazy Susan and Massive Dad. Whether he’s talking slightly in his clumsy, oafish character or not, Ashenden reckons we really shouldn’t be taking it all quite so seriously. ‘Sketch shows are so, so stupid and artistically have so little merit that it’s hard to string anything together thematically. I mean, we’re giving it a go, but it’s hard to do it earnestly when the material lacks all earnestness.’ As if to prove the point, we have a later email exchange when I ask if anything has recently constituted a ‘real Pin moment’, a recurring sort-of catchphrase from last year’s show. ‘I suppose one instance would be that we were recently sat in the coffee shop we write in, and in walks Harry Styles. Nobody does or says anything. It’s awkward until he leaves. That for us is a classic Pin moment.’

@comedyawards

The Pin, Pleasance Courtyard, Pleasance, 0131 556 6550, 2–25 Aug (not 11, 18), 6pm, £9–£11 (£8–£10). Previews 30 Jul–1 Aug, £6. 54 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

TWISTED LOAF One of the hot tips from the free roster this year, Nina Smith and Libby Northedge had the Funny Women Award in their back pockets for a year. Half-Baked is their debut hour. You decide if they are indeed ‘blisteringly funny idiots’. The Counting House, West Nicolson Street, 0131 667 7533, 1–25 Aug (not 12), 8.45pm, free. MCQUEEN There can’t be many acts who number Dave Chappelle and Thom Yorke as fans. McQueen Adams and Timothy Oakley can. Songs, stunts and sketches about the rich and famous. Pleasance Dome, Bristo Square, 0131 556 6550, 2–24 Aug, 11pm, £10 (£9). Previews 30 Jul–1 Aug, £6. TOBY Sibling duo Lizzie and Sarah Daykin were dubbed one of the darkest duets in sketch when they emerged in 2010. They then proceeded to plumb fresh depths of comedic depravity with Nathan Dean Williams. So, now they’re a coupling again, will they be all soft and gentle? Will they ‘eck as like. Pleasance Courtyard, Pleasance, 0131 556 6550, 2–25 Aug (not 12), 5.45pm, £9.50–£11 (£8–£9.50). Previews 30 Jul–1 Aug, £6. LADIES LIVE LONGER The perfect antidote to Toby, Louise Fitzgerald and Victoria Temple-Morris are undoubtedly talented but won’t be frightening the horses any time soon. Volunteerology will surely be another example of skilful character comedy. The Caves, Cowgate, 0131 556 5375, 8–22 Aug (not 12), 7.10pm, £7.50– £8.50. Previews 6 & 7 Aug, £5. LAZY SUSAN They used to be a trio called Lebensmüde, but are now Lazy Susan, an actual duo. If you want names, theirs are Celeste Dring and Freya Parker. Pleasance Courtyard, Pleasance, 0131 556 6550, 2–25 Aug (not 12), 7pm, £8–£10 (£7–£9). Previews 30 Jul–1 Aug, £6.

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FRINGE:COMEDY LUCIE POHL

NAZI GOLD An unconventional childhood helped Lucie Pohl follow her showbusiness dreams. But, as she tells Niki Boyle, being funny was never part of the grand plan

et’s get one thing out of the way: the title of Lucie Pohl’s Fringe debut, Hi Hitler, is not there purely for shock value. ‘It’s a joke, of course, because when I was young I thought it was a greeting,’ she explains over the phone from Istanbul. ‘I didn’t understand that it was “heil”: I thought people were saying “hi”, you know? I would doodle Hitler all the time holding up a peace sign, and I was just kind of fascinated with this creature-man.’ This atypical view of the great dictator forms the perfect jumping-off point for an hour’s exploration of identity, largely focusing on Pohl’s nationality ins to (German-American) and her family. It’s the latter section that pertains tions. ‘There There is stuff in some of the show’s more eyebrow-raising revelations. there about my father drinkingg a lot and having affairs,’ she acknowledges, ere s a whole thing about me having this horrible affair with ‘and then there’s my aunt’s boyfriend.’ Did the airing of such dirty laundry lead to some awkward moments around the Pohl family dinner table? ‘Well, they’re all performers and artists, so they were all like, “talk more about me! If you would talk more about me, it would be really great!” In my family, I’m like the most reasonable and normal person. I have to work a little harder to top the insanity that is my family.’ That ‘insanity’ springs, at least partially, from the Pohl clan’s genetic flair for the theatrical: Lucie’s mother ‘is Bertolt Brecht’s niece, basically’, while her dad writes ‘very political, very provocative, controversial plays’. While a glance at her acting résumé shows she shares some of her family’s dramatic inclinations, Pohl’s comedic talents are all her own; though it’s not a role she’s always relished. ‘I used to get really angry when people laughed at me being funny. And then when I started out acting, I was cast as the bitchy, sexy best friend a lot. So I had a time where I was trying to be very beautiful and kind of dismissing or almost embarrassed of the fact that I was funny, you know? So it took me a while to embrace it.’ While Pohl was adept at impersonations and got plenty of

‘I HAVE TO WORK HARDER TO TOP THE INSANITY THAT IS MY FAMILY’ 56 THE LIST | Edinburgh Festival Guide e 20 201 2 2014 0114 | list.co.uk/festival 0 liis lis ist.c st.c t.c co o.u .u .uk/ k/f /fe /f est sttiva iiv va val

laughs from doing them, she was never convinced that it actually amounted to much. ‘I always thought that I had to work on being more like the leading lady and more beautiful and more perfect. It’s strange when people expect you to be pretty and sexy and beautiful but you’re not really supposed to be funny as a woman. When you’re that character, or when you’re that type of woman, people don’t want you to be funny or expect you to be funny.’ que perspective of a female Despite the show coming from the very unique median (oh, and she’s Jewish as well), Pohl German-American actor-comedian reassures us that it has a universal message. ‘Most people, for one reason or another, whether it’s the nationality thing or a sexual thing or just a state of mind, have this experience of not belonging or feeling lost and like a fish out of water. I’ve learned that people can connect to it.’ Lucie Pohl: Hi Hitler, Gilded Balloon Teviot, Bristo Square, 0131 622 6552, 2–25 Aug (not 11), 4.15pm, £8–£9 (£7–£8). Previews 30 Jul–1 Aug, £5.

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FRINGE:COMEDY COMEDY AWARDS

‘WHAT HAS THE EDINBURGH COMEDY AWARD EVER DONE FOR ME? In its post-Perrier life, the Fringe’s main comedy prize has gone through various guises but one thing remains constant: it gives a gong to some pretty superb comedians. We sent a bunch of award-related questions to all the winners from 2007 onwards who are returning this year. Here are their responses . . .

I’m not sure I’d ever won anything before that, beyond sporting trophies as a kid.

What do you remember about the first show you did after getting the award?

Of the other nominees on your shortlist, can you name one act you’d have been perfectly happy to see winning instead of you?

It was directly after: like, immediately. The audience had been left waiting for an hour as I’d had an extra late show added in the Pleasance Grand. I walked on and said ‘I think I’m in shock’. Then a lady in the front row said ‘congratulations’ and the whole room slowly started swelling into a rapturous applause. I honestly can’t remember anything after that until the end when everyone was standing and all my friends in attendance rushed the stage.

The weird thing was I had been close to being nominated so many times that I honestly didn’t think anyone had lost. History has shown that a nomination is all you need for a foot in the door. It’s what you do from there that matters and the fact that everyone on that list is now way more famous than me kinda proves that. Everyone else’s talents and abilities makes their careers more of a foregone conclusion. I’ve always been the slow burner so I needed it more than anyone. What was the first thought that came into your head when you heard your name being read out as the winner?

I can’t feel my legs.

BRENDON BURNS (2007) Before winning the Edinburgh Comedy Award, what was the best thing you had ever won?

Did you have a winner’s speech prepared and did you stick to it?

I blubbed like a little girl. I honestly didn’t think I’d won. I rang my mum and got Christian Slater to tell her I’d won. That was all spur of the moment.

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How did it feel to be handing over the award the following year?

Great, really great. Admittedly, everybody thought Rhod Gilbert was a shoe-in, but again, history has proven he really didn’t need it. It felt particularly great giving Sarah Millican Best Newcomer because she was just as blown away as I was. Does it annoy you/make you relieved/ leave you non-plussed that you can’t say ‘I won the Perrier’?

Ha! Fuck that!! I actually do. But only when I’m bombing.

COMEDY AWARDS COMEDY: FRINGE

How has winning the Edinburgh Comedy Award changed things?

It was a whirlwind year followed by a great deal of trying to work out what to do with myself and now I’m producing my own online series on the Free Fringe. Which is probably what I should’ve done all along. The Brendon Burns Show, Liquid Room, Victoria Street, 0131 226 0000, 2–24 Aug (not 7, 14, 21), 6.15pm, free; Brendon Burns and Colt Cabana, Stand in the Square, St Andrew Square, 0131 558 7272, 1–25 Aug (not 3, 10, 17, 24), 10pm, £8.

my show in, say, York, which is amazing. But for years I’d seen the other side: comedians who had done really great work getting so down when they weren’t nominated. I mean really, really sad. Thinking that their work had been a failure. I’d heard about the skullduggery of agents and managers to get people on those lists; the obsession with it in the media. I’d seen brilliant, innovative shows missed, and shows I didn’t rate get nominated. I’d seen the chaotic, subjective beauty of the Fringe processed into this annual list that people see as some sort of result. Which isn’t for a moment to take away from the award itself and the effort that goes into organising it. I am very glad it exists. But I just wish everyone wouldn’t take it so seriously. But look at me here, banging on about it now in The List. Did you have a winner’s speech prepared and did you stick to it?

I didn’t know you had to do a speech. Sometimes it comes up on the right hand side of YouTube, but I’ve never clicked on it. What do you remember most about the first show you did after getting the award?

I was doing a kids’ show at lunchtime the next day. Those 20 kids could not have given nine fucks about what happened the night before. How did it feel to be on stage handing over the award the following year?

It felt great to give it to Tim Key. I’d seen his show and loved it. And he has done amazing work since then. Does it annoy you/make you relieved/ leave you non-plussed that you can’t say ‘I won the Perrier’?

DAVID O’DOHERTY (2008) Before winning the Edinburgh Comedy Award, what was the best thing you had ever won?

Aside from a triple jump bronze medal in school, I’d won the So You Think You’re Funny? award in 1999. Josie Long was runnerup but I thought she was much funnier than me. The previous week I’d been runner-up in the BBC newcomer competition to her. I think that taught me not to take awards in comedy too seriously. Of the other nominees on your shortlist, can you name one act you’d have been perfectly happy to see winning instead of you?

Kristen Schaal is one of my best friends and the fact that neither of us came from the UK and hadn’t heard people bang on and on about this award for years meant that we were a step removed from the excitement and hype. The awards started a bit late on the night, and I think it was meant to be presented at midnight. Anyway, something happened and at midnight we were all still standing there, and Kristen’s agent looked at his BlackBerry and told me I’d won. The press release had gone out but the award hadn’t been presented yet. I was very surprised and confused. What was the first thought that came into your head when you heard your name being read out as the winner?

I was, and to this day remain, surprised and confused. It’s so, so nice to be on that list with all of those incredible comedians. And suddenly 100 people wanted to come and see

The Nestlé business and the protests did cast a shadow over it towards the end, but the name seems to have stuck. I still have an Intelligent Finance Award highlighter pen on my desk, but it’s nearly run out. How has winning the Edinburgh Comedy Award changed things?

It has been great. That show was my eighth show and I’ve continued to do a new show every year since. I am still learning so much, trying to make each show better than the last. The award was a nice pat on the back, but I know I can do something much better. David O’Doherty Has Checked Everything, Assembly George Square Theatre, George Square, 0131 623 3030, 2–25 Aug (not 12), 7.15pm, £14–£15 (£13–£14). Previews 30 Jul–1 Aug, £8.

TIM KEY (2009) Before winning the Edinburgh Comedy Award, what was the best thing you had ever won?

My dad threw himself into fancy dress parties for his offspring so me and my brother picked up a fair bit of silverware when we were kids. My brother won as Mr Strong and Hickory Dickory Dock and I think I won as a potato. Once the fancy dress stuff dried up, I had a barren spell for about 20 years. That was broken when I won the comedy award. Of the other nominees on your shortlist, can you name one act you’d have been perfectly happy to see winning instead of you?

I think ‘perfectly happy’ would have been overstating it. But I wouldn’t have minded too much if Jon Richardson had pinched it. I like

Jon and I’d gone onto his radio show a few times during the festival and we’d both enjoyed being nominated etc. I think he was delighted for me when I won it, though as I remember it, he pretended to be annoyed. He was joking, I think. Well, he’s a comedy award nominee. What was the first thought that came into your head when you heard your name being read out as the winner?

Elation. You don’t like to get caught up in the nonsense of the award, of course, and you need to appear cool by acting nonchalantly and pretending you don’t know what the award is and feigning surprise at being nominated. But secretly I was absolutely thrilled to be nominated and winning it blew my mind. It’s a chunky award. People I really admire and love had won it. So the moment they read my name out was quite emotional. And everyone was clapping. It’s a nice thing to have happen to you. Did you have a winner’s speech prepared and did you stick to it?

I’m not an idiot. I wrote a list of the people I wanted to thank. But then I was shaking so much it was difficult to read it and I kept choking up. I wanted to say nice things about the people who’d helped. But I had to move on from each name before I collapsed and cried. I missed some people out. That was disappointing. I’m an idiot. What do you remember most about the first show you did after getting the award?

I got straight in a cab and went to do a play half an hour after winning the award. It was called Party, by my mate Tom Basden, and Jonny Sweet was also in it. Jonny won the Best Newcomer Award that year so it was fairly fun cabbing it across town with our prizes. During that show we kept looking at each other and saying our lines as our characters but looking at each other with our actual eyes as well and blinking in disbelief: ‘THIS IS NUTS’. At the end, Basden forced the audience to applaud us because we’d just won the awards. That was also a nice thing to happen. How did it feel to be on stage handing over the award the following year?

Terrifying. I genuinely don’t like public speaking so it was more nerve-wracking than 12 months earlier. I focused on giving it to the name inside the envelope, and getting off as

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FRINGE:COMEDY COMEDY AWARDS

quick as possible. I didn’t have to give a speech, fortunately, but I like that the winner hands it over the next year. David O’Doherty gave me the award, and it made it more personal. Frank Skinner announced it with him. Just Frank there would have been even scarier. DOD took the edge off it.

Of the other nominees on your shortlist, can you name one act you’d have been perfectly happy to see winning instead of you?

Does it annoy you/make you relieved/ leave you non-plussed that you can’t say ‘I won the Perrier’?

What was the first thought that came into your head when you heard your name being read out as the winner?

I won it in a year where there wasn’t any sponsorship. I’m lucky there was an award at all. Fortunately, they ploughed on without a sponsor and still managed to find me tons of prize money. Perrier are lucky little sods that they are still name-checked in order to explain the gravity of your achievement.

Fuuuuuuuuuck. It’s one of those moments that’s so large that you feel nothing. Only later do you sob with gratitude.

How has winning the Edinburgh Comedy Award changed things?

Confidence-wise, it was handy. I toured the show I won it with and got to go to Australia and Kent. Generally, it does open doors, I’m sure, but I’m unclear exactly how. I don’t carry it round with me and slap it down in meetings. I think I was just lucky to be given it for doing a good show, and it gave me confidence that I could make more good things. That’s not something to be underestimated. Belief is very important in comedy. I’m glad I have that award. I can also sleep with it if I’m feeling down. Tim Key: Single White Slut, Pleasance Courtyard, Pleasance, 0131 556 6550, 14–25 Aug, 9.40pm, £12–£16 (£10–£14). Preview 13 Aug, £10.

RUSSELL KANE ((2010))

So many. Andrew Lawrence for definite: black liquid poetry. Rhod Gilbert should have won it too.

Did you have a winner’s speech prepared and did you stick to it?

No. No speech. I compared my management to Hogwarts. I thanked my mum and my girlfriend. What do you remember most about the first show you did after getting the award?

The audience seemed harder to entertain. So I put my award on the stage and danced around it. That dispelled the tension. How did it feel to be on stage handing over the award the following year?

An honour, but also sad. Like the end of a holiday, when you start crying while unpacking your suitcase. Does it annoy you/make you relieved/ leave you non-plussed that you can’t say ‘I won the Perrier’?

I do say it. It’s easier. How has winning the Edinburgh Comedy Award changed things?

It was the main thing I wanted from standup. It achieved my main ambition. I have to remember that. Whatever happens next in this rollercoaster world of comedy, I have to remember how lucky I am to be in that alumni. Russell Kane: Smallness, Underbelly, Bristo Square, 0844 545 8252, 20–22 Aug, 9pm, £15 (£12.50); The Kaneing Podcast, Assembly Checkpoint, Bristo Place, 0131 623 3030, 6, 12, 19 Aug, 3pm, £9; The Closure of Craig Solly, Underbelly, Bristo Square, 0844 545 8252, 18–24 Aug, 1.30pm, £12.50–£14.50 (£10–£13.50).

ADAM RICHES (2011) Before winning the Edinburgh Comedy Award, what was the best thing you had ever won?

Before winning the Edinburgh Comedy Award, what was the best thing you had ever won?

The Laughing Horse New Act of the Year. I’d never won anything before I started doing creative things. I won an award for copywriting once, too. ‘Win a Flight’ was the headline. How creative.

They are so few and far between that I think I can actually list them: 1984 Perse Preparatory School Progress Prize aka ‘The Big One’. A blessing and a curse. It shows you’re obviously intellectually on the right track, whilst simultaneously concealing exactly where on that track you might be. I got the feeling from the supportive nods and patronising thumbsup that I was more of a ‘just pulling out of the station’ kid rather than a ‘Bullet Train honking its horn’. But I also remember my prize being a book on ‘How to Play Cricket’ the day after I had tried out for the football team. Fate made me wait a full 22 years before my next accolade. It was a Sony PSP complete with a Rocky Balboa game. My girlfriend’s dad had entered a competition to attend a special launch of the game which included a tournament of sorts, testing it out against other geeks. He got cold feet, so in a ‘reverse Rodney’, as I like to call it, he sent me along in his name to duke it

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out for the game and console. Not being a massive gamer, I had no idea what I was doing and so just pressed buttons quickly whilst sweating. That seemed to work and in a scene straight out of a Rocky film, saw me through to the final against a guy that really wanted to win. I mean really wanted to win. He was a massive computer game fan, a massive Rocky fan and ten years old. So, I naturally thought ‘fuck him, I’m winning this. Go home and cry yourself to sleep you little shit’ and I annihilated him . . . right up until the final few seconds of the last round when he rope-a-doped me and southpawed me out cold with a combination move of a button with a triangle on it and a button with a square on it. Should have seen it coming, really. He won the game, the PSP and the trip to the premiere of the film, whilst I had to settle with the game and the console. Weirdest bit was when the other guests got behind me and started to chant my name in support! I say ‘my name’, it was my girlfriend’s dad’s name, making it the first and only time I’ve ever been inspired by a crowd chanting ‘Paul, Paul, Paul’ at me. Hopefully not the last . . . Of the other nominees on your shortlist, can you name one act you’d have been perfectly happy to see winning instead of you?

Of course not. Who on earth would be perfectly happy to lose?! I’d imagine all the other acts would say exactly the same, wouldn’t they? I will say, though, that it was a strange experience to suddenly find yourself in the closing stages of a competition you didn’t actually enter. Winning an award was never on my agenda of things to achieve with the show, but then once I was so heavily involved I did find myself wanting to see it all the way through to the end. But if I had to name someone else to save somebody’s life . . . I still wouldn’t! Well, maybe Nick Helm. Maybe. What was the first thought that came into your head when you heard your name being read out as the winner?

Relief, initially, that it was all over. And then a sense of real joy, real pride at making a mark with a piece of work that would really last.

COMEDY AWARDS COMEDY: FRINGE

I’ve loved every show I’ve taken to the festival and never really felt much difference between them in terms of quality or ideas. But once they’re finished, aside from the odd gig, brief London run/tour, or transferral of the material to another medium, it’s gone. That hour has gone. So, I felt it was a nice reward for a series of five shows that had all contributed massively to that one. And for all the people, too, that had worked and helped me on them, both behind the scenes in London and onstage up in Edinburgh. It was great to have a show that will be on a list of other great shows from now until the planet explodes because that’s what we’re all chasing here, right?

wrapped up in an 11-year, multi-thousandpound-losing bad thing. Adam of the Riches, Pleasance Dome, Bristo Square, 0131 556 6550, 2–24 Aug, 9.45pm, £10–£14 (£8–£12). Previews 30 Jul–1 Aug, g, £7.

I was too tired to think straight and would never really want to think about something like that until it happened. I was a little embarrassed too going up there, for some strange reason. I don’t know why. It all just felt a little bit official, all of a sudden. A little bit too grown-up! Stupid, really, as certain people I didn’t mention sure as hell made their unhappiness known afterwards! Wow. What do you remember most about the first show you did after getting the award?

How did it feel to be on stage handing over the award the following year?

Great. The whole experience was fantastic, so different to how it had been for the last decade or so. I came up to do a few shows at the Queen Dome, felt no fear, no pressure, just fun and excitement. I got to see a ton of shows, which I had never got to do before. I managed to see all of the nominees which was a real treat and had my own short shortlist for who I wanted to win. I also loved the awful douchey moment I pulled at the end when I decided to say how much I loved the Fringe to a room that had just lost five-sixths of its occupants! It was like Braveheart losing the crowd right before the Battle of Stirling Bridge. Guys . . . guys . . . is this thing on?

BRIDGET CHRISTIE (2013) Before winning the Edinburgh Comedy Award, what was the best thing you had ever won?

A big orange and white elephant in a school raffle when I was four. I was so excited I ran up to get it, fell over and cut my knee open pretty badly. I still have the scar today. And the elephant, which is on my daughter’s bed. It’s nice to pass things down. She’s not having my Edinburgh Comedy Award, though. I want that chucked onto my coffin as I’m lowered into the ground. It’s such a massive hunk of plastic it’ll make a really loud, awful thud. It’d be great if someone could also say ‘good riddance’ at the same time. Of the other nominees on your shortlist, can you name one act you’d have been perfectly happy to see winning instead of you?

No. I can’t believe you’ve asked me that. What sort of a prick would single out one of their fellow nominees and then say why that person was better than all the others? We all gig together, you know. I now realise that other previous winners taking part may have answered this question properly, and now it looks like I’m calling them a prick. Never mind. What was the first thought that came into your head when you heard your name being read out as the winner?

I couldn’t care less one way or the other. I sometimes do, anyway.

Most of us were stood at the back of the room together, looking down at the floor, so while I was pretty excited to hear my name, I felt bad for the others, too. Not in a patronising way; I just know what it feels like to be a MASSIVE SMELLY LOSER!!! Ha! Only joking guys. I was also wondering if my backpack would be OK on the floor by the boys, or whether I should bring it up with me in case one of them pissed on it. I was also dreading having my photo taken, which I find embarrassing.

It’s just opened up a lot of doors that were previously wedged tight and gave me the opportunity to properly close them! It hasn’t solved anything, it hasn’t cured anything, it’s just given me a chance to try things, meet people and perform in places I wouldn’t ever have been able to before. It’s a good thing

What do you remember most about the first show you did after getting the award?

How do you think it will feel to be on stage handing over the award this year?

Does it annoy you/make you relieved/ leave you non-plussed that you can’t say ‘I won the Perrier’?

How has winning the Edinburgh Comedy Award changed things?

Yes I did, because I didn’t want to forget to thank someone important and also I didn’t want to drone on for ages about myself.

I died on my arse at the Foster’s Award Show thing at the Pleasance the following night. It was awful. Most people in the audience (as well as all the other nominees backstage) must have been thinking, ‘how the hell did this unfunny twat win?’ There was a prop backstage of a huge golden statue that was being used for another show and some of us (including me, otherwise I wouldn’t have done it), thought it would be funny if I dragged it out with me (as the winner) and made a massive deal out of it, which I did, but it got absolutely nothing at all and my set didn’t really recover from that weird intro. I think it was the shouting Nick Helm who first suggested it. If he reads this, and I’ve remembered it wrong, I expect he will shout at me. It was either him, Seann Walsh, James Acaster or Mike Wozniak.

Did you have a winner’s speech prepared and did you stick to it?

It was poor. I knew it would be, whether I won the award or not. I got to the venue an hour before, sat on my own in the dressing room, same as I had each and every day for the last few weeks, and just stared out the window over the courtyard. I was empty I think, and had a head full of thoughts I hadn’t bothered to think about before. What next? Who with? How? When? Should I quit now whilst I’m momentarily ahead?! All things that are often in your head anyway, but at that moment just felt like they needed an answer, NOW! My agent came to see it that day too, with Tim Key, and I remember just wanting to apologise to them. I was just knackered. Exhaustion plus fanfare: a dangerous brew!

Did you have a winner’s speech prepared and did you stick to it?

I’ll be pretty excited for the new winner. Phil Burgers (Doctor Brown, the previous year’s winner) was so nice to me last year when I got up on stage. He was very reassuring and kind, so I must remember to be like that for the new winner. Steve Coogan (who presented it) was very nice to me too. It’s a bit daunting up there with all the cameras and stuff. It would be funny to look really disappointed with the new winner, though, wouldn’t it? Or thrust the award at them really aggressively. I won’t do that. Does it annoy you/make you relieved/ leave you non-plussed that you can’t say ‘I won the Perrier’?

I don’t tend to tell people I’ve won awards. It doesn’t really come up in conversation. How would that work, anyway? ‘Hello, my name is Bridget and I won the Edinburgh Comedy Award. Have you ever won anything?’ If someone else mentions it, I just agree with whatever they’ve called it. I’m glad I didn’t win it when it was called the if.comedy award: bit cumbersome, wasn’t it? With all the dots and if’s. I’m not sure about the Eddies, either. Sounds like it’s been called after someone called Eddie. Like Eddie Large. How has winning the Edinburgh Comedy Award changed things?

Of course, it’s given my career a big old boost. But in actual terms, the most impact it’s had is on live work, which is what I’m concentrating on for the time being, so that’s been brilliant. It’s impossible to tell whether it’s all down to the award or not, but it would have undoubtedly made a difference to ticket sales. Some people obviously just came to see the show that won the award. How many, I’ll never know, but it will be interesting to see if they come back this year to see the new one. The other brilliant (and best) thing winning did was to re-position me in terms of how I am perceived. So now people can associate me with an award, rather than with another person. Boom! Bridget Christie: An Ungrateful Woman, The Stand, York Place, 0131 558 7272, 2–25 Aug (not 11), 11.10am, £10 (£9).

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 61

FESTIVAL PROGRAMME 2014 THEATRE DANCE FILM MUSIC VISUAL ARTS LITERATURE CHILDREN'S EDUCATION

150 Events 40 Spaces ONE SPECTACULAR VENUE

‘Summerhall is now big enough to constitute an entire festival in its own right ’ Box Office Enquiries:

0131 560 1581

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www.festival14.summerhall.co.uk 62 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

1 Aug - 25 Aug WELCOME TO A VENUE LIKE NO OTHER...

FRING E : DA NCE

PRAGUE SPRING Czech dance star Lenka Vagnerová brings her company to Edinburgh with two shows about life and nature. Kelly Apter met her to discuss the subtle art of collaboration

s the judges take to the stage, the tension starts to mount. The 20th annual Czech Dance Platform (CDP) has just come to a close, and here in the Ponec Theatre on the outskirts of Prague, this year’s award-winners are about to be announced. In keeping with tradition, the four-day event has just ended with the winner of last year’s Best Dance Piece award: Lenka Vagnerová’s Riders, an energetic, poignant yet comic work for five performers, that explores our relationship with birds. But now, sitting in the front row at Ponec, Vagnerová has her eye on another prize. Her contribution to this year’s Platform, La Loba, featured a stunning performance by dancer Andrea Opavská who is currently in the running for Dancer of the Year (an award Vagnerová herself scooped in 2005). Twenty minutes later, the mayor of Prague is back in his seat, the awards having all been distributed, and Opavská is wearing a broad smile, prize and bunch of flowers in hand. For Vagnerová, who will bring both Riders and La Loba to the Fringe, it’s proof that starting her own company in 2012 was a wise move. Prior to that, she helped form Czech dance company DOT504 (who won over Fringe audiences with Holdin’ Fast and Man Hunt in recent years) and created work at home and abroad with Akram Khan among others. When we meet in the picturesque Czech capital, Vagnerová has a new project in hand. A baby daughter is sitting in her lap as we chat, and who, in her own special way, influenced the making of La Loba (Vagnerová was pregnant during the work’s creation). A woman with a gentle manner but fiercely intelligent vision, Lenka Vagnerová has moved from performer to choreographer to company boss in just a few impressively short years.

‘I started the company because I wanted to work more deeply on my performances,’ she explains, ‘and I wanted to feel more free; I felt I was a bit squeezed. But mainly it was because I like to choose the people I work with; I wanted to collaborate with musicians, actors and singers.’ She got her wish. Both Riders and La Loba benefit from astute creative choices on Vagnerová’s part, bringing in talented collaborators both onstage and behind the scenes. Inspired by a South American folk tale, La Loba (or ‘wolf woman’) finds Opavská roaming the land in search of bones, which she then brings back to life. Joining her on stage is singer Jana Vébrová, whose atmospheric live vocals combine with the straw and bone-strewn stage and Opavská’s captivating movement style to create a powerful duet. ‘There are two performers in La Loba, but only one character,’ explains Vagnerová. ‘Having a singer and dancer is a nice combination, because what I was searching for in the movement qualities, Jana also has in her voice. But this woman isn’t just a person; she’s the whole earth. Earth gives life, but then takes the bones back; it recycles over and over.’ For Riders, Vagnerová looked to Czech film actress Tereza Voríšková to give the show a theatrical edge. Voríšková performs alongside four dancers, but viewers would be hard pressed to spot the difference. ‘Tereza did a great job,’ says Vagnerová. ‘She came to dance class every day, and I pushed her so much she probably hated me. But I think everybody can move and dance, you just have to find a way how.’ Lenka Vagnerová & Co, Zoo Southside, Nicolson Street, 0131 662 6892, Riders: 2–10 Aug (not 7), 5pm, £12 (£10). Preview 1 Aug, £10; La Loba: 12–25 Aug (not 18), 5pm, £10 (£8). list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 63

FRINGE:DANCE BRAZOUKA

Lucy Ribchester talks to former Strictly star Pamela Stephenson Connolly about the Brazilian dance craze which got her back on the ﬂoor

hile the world’s eyes have recently been fixed on Brazil’s football stadiums, a troupe of that nation’s dancers are limbering up to showcase a different kind of intricate footwork in Edinburgh. Brazilian dance show Brazouka, written and lead-produced by Pamela Stephenson Connolly, makes its world premiere at this year’s Fringe, weaving together lambazouk – lambada dance and zouk music – and other African-Brazilian dance styles to tell the life story of dancer Braz Dos Santos. Braz and his brother Didi were talentspotted at an early age dancing in flip-flops in a Porto Seguro bar, before being invited to Paris to join FrenchBrazilian pop group Kaoma, who achieved fame in the 80s with the hit single ‘Lambada’. The show came about after Stephenson Connolly reignited her passion for dance while appearing on the BBC’s Strictly Come Dancing. Following that show, the actress, writer and clinical psychologist began looking around for different dances to enjoy. ‘I first found my way to Argentine tango,’ she says, ‘but ended up rather disappointed with the rules and style of the milongas [dance parties] which I felt marginalised women by forcing them to sit around and wait until being invited to dance by men. I’m not that kind of girl, so when I discovered lambazouk and a social environment where I could boldly invite men to dance, I was much happier.’ Being immersed in the lambazouk scene, it was only a matter of time before she met Dos Santos. ‘I was told to seek him out and after just a few lessons I was hooked. He is a master of the dance. When I heard the extraordinary story of how he and his brother emerged from extremely humble beginnings, I knew we could both touch audiences and thrill them with a new, incredible dance language.’ Assembly Hall, Mound Place, 0131 623 3030, 2–25 Aug (not 11, 18), 5.30pm, £18–£19 (£15–£16). Previews 31 Jul & 1 Aug, £12. 64 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

PHOTO © ALEX BRENNER

POPULAR MOVEMENT

TOP 5

LET’S GET PHYSICAL Here’s a quintet of shows which straddle that delicate fine line between contemporary dance and physical theatre

MARIA ADDOLORATA Italian duo Carlo Massari and Chiara Taviani are C&C Company, and here they deliver an intense investigation into coping with pain. This piece has already won an award in France, and is the first chapter in their proposed Trilogy of Pain. Summerhall, 0845 874 3001, 1–24 Aug, 6.40pm, £10 (£8; family ticket £26). PSS PSS Winners of the Cirque du Soleil Prize in 2009, the Switzerland-trained Baccalà Clown duo Simone Fassari and Camilla Pessi play out a game of hope and companionship through physical poetry, surrealism and humour. Director Louis Spagna took part in the very first Cirque du Soleil tour back in 1984. Zoo Southside, Nicolson Street, 0131 662 6892, 3–25 Aug (not 18), 6.50pm, £12 (£10). Previews 1 & 2 Aug, £9. MISSING Dublin’s CoisCéim Dance Theatre present a ‘dance poem’ about the terror of having a loved one go missing. Two dancers tackle the stories of the absent in a chair-filled, golden-lit set. Dance Base, Grassmarket, 0131 225 5525, 2–24 Aug (not 4, 11, 18), 6pm, £8–£10 (£6–£8). Preview 1 Aug, £8 (£6). MALASOMBRA For adults and ‘heavy metal kids’, this piece from Spanish company auMents combines dance, video art, experimental shadow theatre and rock music to create a fantastical journey through a collective fantasy, exploring what might happen if your soul was taken over. Summerhall, 0845 874 3001, 6–24 Aug (not 12, 19), 2.40pm, £13 (£11; family ticket £46). Previews 1–4 Aug, £11. ORIGIN A spot of devised, allegorical sci-fi about an imagined species from the Louisiana State Uni which draws its influences from the likes of string theory, cell biology, evolution and cultural myths. EICC, Morrison Street, 0844 847 1639, 6–10 Aug, 6pm, £10 (£5; family ticket £20).

FESTIVAL

2014

VENUE 22

THE HOME OF DANCE

The best Scottish and international dance in the heart of Edinburgh’s Grassmarket 1 – 24 August I 14 – 16 Grassmarket EH1 2JU

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noďŹ tstate.org list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 65

S D I K : E G N I FR

NORSE CODE Fiona Shepherd digs into all our pasts as a new production of Oliver Postgate’s classic Noggin the Nog comes to Edinburgh

ome years ago, in an innocent time before the Game of Thrones hegemony, there was a converted cowshed in leafy Englandshire. Therein, two men created an animated fantasy adventure set in the craggy Northlands, starring a simple, kindly Norse prince, his exotic Eskimo princess, an evil, scheming uncle, a friendly ice dragon and a talking bird. Noggin the Nog was one of numerous classic kids’ TV series created by Oliver Postgate and Peter Firmin. Bagpuss and The Clangers are more celebrated but Noggin set the whimsical tone with its absorbing yarns, charming animation, atmospheric music and Postgate’s soothing narration. The original

series screened from 1959 until 1965, with a brief colour reboot in 1979. ‘I remember Noggin was something of a hero, and that the dragon was quite benign,’ says John Wright, who has directed a stage adaptation for Third Party Productions, aimed at young children who missed out on the TV series and grown-up kids who want to revisit a childhood favourite. This version, featuring a mixed cast of puppets and humans, stays true to the Postgate spirit, using some footage from the TV series, adapting a couple of the original stories for its narrative and rearranging the eerie theme tune for harmonium and ukulele. And here be dragon puppets.

66 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

‘In a small space, that is captivating to young children,’ says Wright. ‘But adults find it funny because there’s an adult resonance in everything that’s going on: a king that’s always worrying, and his wife who never gets out of bed and worries. There’s a certain pleasure in adapting something that was written in the late 50s. The language is much more formal and I love this clash of marauding Vikings being so polite and well-mannered.’ The Sagas of Noggin the Nog, Assembly George Square Gardens, George Square, 0131 623 3030, 2–25 Aug (not 11, 18), 12.50pm, £9–£10 (£7–£8). Previews 31 Jul & 1 Aug, £6.

A Curious Seed production of

A playful, funny and moving look at how we see ourselves and others, featuring dance, chat and one perfect scene containing everything you could wish forâ&#x20AC;Ś

â&#x20AC;&#x153;Brave, honest and delightfulâ&#x20AC;? Scotsman â&#x20AC;&#x153;Utterly engagingâ&#x20AC;? Herald Aug 1 â&#x20AC;&#x201C; 24 (not Monday) 11:30am (45 min) | Ages 8+ Summerhall (Venue 26) 0845 874 3000 | www.summerhall.co.uk

New comedy from Dan & Jeff, Olivier Award nominated creators of POTTED POTTER Pleasance Edinburgh, 30 Jul - 25 Aug, 2.50pm - Box Office 0131 556 6550

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SHOWS list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 67

FRINGE:KIDS MIL’S TRILLS

TOP 5

AWAY TO THE CIRCUS No longer do they feature blindfolded elephants balancing on a tennis ball (while trying to light a cigar). This year’s bunch of circus acts are all about the love

MORNING MATTERS Kelly Apter chats to Amelia Robinson, the New York uke player behind Mil’s Trills, a musical experience that will open everyone’s eyes to the wonders of new instruments

f helping your little one discover the joy of music and language is high on your list of priorities, but one more rendition of ‘Wheels on the Bus’ might tip you over the edge, then a refreshing wind is blowing in from New York. Singer and songwriter Amelia Robinson developed her interactive show, Mil’s Trills, to give children and their grown-ups a chance to sing, dance and explore together, but with a whole new repertoire of songs and instruments. The show’s unique selling point (aside from Robinson herself, her gorgeous singing voice and heartwarming songs) is the guest musicians who pop in to each show. ‘That’s one of the most exciting and inspiring parts of Mil’s Trills,’ says Robinson, ‘to be introduced to often rare and unusual instruments from all over the world, and get to know each musician’s story. It’s breathtaking when a baby hears the sound of a sousaphone for the first time, and completely satisfying when you teach a grownup something new about an instrument they’ve never heard of, like the West African gyil.’ Robinson herself plays the ukulele (‘a li’l instrument with a huge heart’, as she calls it) but her time is also spent ensuring the audience feels as much a part of the show as she does. ‘It’s about establishing a warm and welcoming atmosphere where everyone plays an important role,’ she says. ‘All ages, from babies to grandparents, can participate in interactive songs through singing, dancing, playing guessing games, exploring instruments, improvising lyrics and echoing rhythmic patterns.’ Robinson’s career to date has taken her from playing at Carnegie Hall in New York, to studying with Michael Nyman and having her music performed by the London Symphony

Orchestra, as well as travelling through Asia and the Middle East, discovering new instruments and rhythms. But the birth of her niece found Robinson back in Brooklyn and moving in a new musical direction. ‘Like most people, I kind of fell into children’s music, or “everyone” music, as I’ve been calling it lately,’ she explains. ‘I found myself casually playing for my young niece and a small group of friends on occasion in the park. I wasn’t even playing children’s music at that time, but my songs (and the ukulele) were catchy and playful enough to transcend age barriers. Word of mouth spread like wildfire.’ Raised in Brooklyn, Robinson was part of a weekly music group, led by an inspiring mentor who helped young people grow up feeling ‘secure and inspired’. Mil’s Trills is, says Robinson, an opportunity for her to pay that good experience forward. ‘It gives children a chance to join the band and be a part of the show so that they too can have a place to be their true selves.’ Robinson’s show is in constant demand in New York, where she has also released an album, Everyone Together Now, the lyrics from which are on her website (milstrills.com) should anyone wish to bone up in advance. However you and your young charge choose to engage with Robinson’s show, she’s ready to adapt accordingly. ‘Each audience is different, and therefore each show will be different. That’s the most exciting part of live music.’ Musical Mornings with Mil’s Trills, Pleasance Courtyard, Pleasance, 0131 556 6550, 2–17 Aug (not 11), 10.30am, 11.30am, £7–£9 (£6.50–£7.50). Previews 30 Jul–1 Aug, £6.50.

68 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

THE LITTLE BIG SHOW A global assortment of clowning and comedy promising ‘ginormous laughs’ in a small space. For ‘kids and very big kids’. That’s you lot. Assembly George Square Gardens, George Square, 0131 623 3030, 31 Jul–24 Aug, 10.45am, £10 (£6). A SUNDAY IN THE PARK London’s premier youth circus group started out in the parks of Hammersmith just over 30 years ago. At the Botanics, Albert & Friends Instant Circus will be doing their highly skilled, innovative thing. Royal Botanic Garden, Inverleith Row, 0131 226 0000, 17–24 Aug, 1pm, free. FREEDOM FAMILY CIRCUS Hopefully the FFC won’t get their stable acts mixed up and send in the Xtreme Sideshow. Assuming it all works out as planned, you should get a glimpse of unpredictable jugglers, dancers and clowns. Gryphon, Bread Street, 07599 903210, 4–23 Aug (not 10, 17), noon, £7 (£5; family ticket £20). Previews 1–3 Aug, £5 (£3). FUNNY STUFF FOR HAPPY PEOPLE Martin Mor aka Martin Bigpig, otherwise known as the big Northern Irishman with the tattoos and hair, is on call for an hour of comedy, circus, poetry, storytelling and, here’s the intriguing bit, ‘stupid science’. Stand in the Square, St Andrew Square, 0131 558 7272, 1–24 Aug (not 11, 18–21), 11am, £8 (£7). COMEDY ALLSORTS A rotating bill of acts here, but with one common denominator: madcap clowning antics are assured. And there is a strong likelihood of audience participation, for those who like to be pre-warned about that kind of thing. Assembly George Square Gardens, George Square, 0131 623 3030, 31 Jul–24 Aug (not 18–22), 2pm, £10 (£6).

FRING E : MU SIC

SAINT ANDREW The clean-cut Andy Bell gets down and dirty for his Fringe debut with a song cycle about a Dorian Gray-type character. He tells Fiona Shepherd that he canâ&#x20AC;&#x2122;t wait to be out of his comfort zone

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 69

FRINGE:MUSIC ANDY BELL

ndy Bell’s Twitter tter account declares that he ar’. is ‘loving 2014 so far’. It’s a productive time for the flamboyant singing half of ons Erasure, with collaborations ain aplenty. But he can explain he all that. ‘It’s the year of the ed horse,’ he says. ‘I looked ust it up and it said “you must ow work this year”. You know ne those feast and famine se periods? This is one of those work, work, work periods.’’ th So, he has worked with ir dance duo Shelter on their d new album iPop, worked er with his Erasure partner m Vince Clarke on an album ar for release later this year t, and worked with poet, d performance artist and n archivist Barney Ashton on his Fringe debut, a dramatic song cycle (pluss accompanying album)) rakishly titled Torsten thee Bareback Saint. The eponymous hero is a Dorian Gray figure, only less malevolent and narcissistic. According to the production notes, this ageless adventurer, old in years but young(ish) in looks, finally made it out of his endless adolescence with a growth spurt in the late 80s. Now 42, he’s looking back at key events in his life to date, while lamenting the impossibility of sustaining relationships lest his unsettling secret be discovered. ‘He’s very vulnerable but he has this armour as well,’ says Bell. ‘I don’t see him as a victim at all. To me, it feels like you are reading through Torsten’s diary and each song is a certain period when he’s written down what he’s going through at that time. He seems to be a bit like Doctor Who where he can just travel wherever he wants to.’ Bell also compares him to one of the musclebound characters from the homoerotic artwork of Tom of Finland. ‘Because I’m blond and have blue eyes, maybe I fit the character a bit. He’s not necessarily gay; he’s slept with all kinds of people. I only had one girlfriend but that was enough for me to relate to in some of the songs. Quite a few sound like stories from my own life. Some of the songs are very London-ish, hanging out in saunas, stuff like that. I don’t know if I’m just weaving myself into it but that’s how it feels to me.’ Bell, who celebrated his half-century earlier this year, has also been quoted as stating that ‘I’ve never felt old, ever’ but that’s maybe taking the comparison too far. It is also tempting to compare Torsten to 2011 Fringe hit Ten Plagues, a modern operatic song cycle about the Great Plague of London, written by Mark Ravenhill and performed by Bell’s queer pop peer Marc Almond. However, the music in Torsten is a more varied mixture of European cabaret, rock opera, jazz and torch songs. Bell has dipped into these genres for one-off projects in the past. In the early 90s, he sang the part of Montresor in The Fall of the House of Usher, a rock opera written by Peter Hammill and Judge Smith of prog rockers Van der Graaf Generator, and played the title role – for one night only – in the play The Night We Buried Judy Garland. More recently, he appeared on reality TV show Popstar to Operastar where he says 70 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

he was ‘a rabbit caught in tthe headlights. I got that ffear live on camera. But I think I’m much more rready in my own skin to d do something like this.’ Nevertheless, he has d described Torsten as the m most challenging role o of his career. ‘You feel n naked. There are no bells aand whistles, and it’s not yo your own songs. When I’ I’m doing Erasure, I’m in my comfort zone. This is something completely di different. I don’t think pe people are going to be of offended but there’s quite a lo lot of swearing and visceral lyr lyrics. It’s quite rude but I’m really enjoying it bec because I’ve got a clean-cut im image.’ T There has always been som something puppyish and pla playful about Bell’s stage per persona. He reckons his nai naivety even played a part in firs rst getting him the Erasure gig when ex-Depeche Mode / Y Yazoo songwriter Vince Cla Clarke held auditions for a new singer. ‘I didn’t know how to hold the mic properly,’ he recalls. ‘I h hadn’t really sung falsetto and for some reason it just spra sprang out of my mouth on that day. I think it took us both by surprise.’ From the start, he was completely open about his sexuality, and revealed his HIV-positive status ten years ago. His long-term partner and manager Paul Hickey, who died in 2012, was also HIV-positive. Although Bell takes a relaxed each-day-as-it-comes approach to his life and career, he doesn’t take success for granted, even after close to 30 years in a globally successful pop band. ‘When you do pop, it’s quite superficial really,’ he says. ‘After a while, the star fades and you have to get used to that. It’s not about you, it’s not about your ego, it’s about being open. I think you have to do something else to broaden your artistry.’ Which leads Bell to 12 nights at the world’s biggest arts festival. Although Erasure have played in Edinburgh numerous times over the years, Bell has never been to the Fringe, even as a punter. ‘Vince has been; he says it’s really mad, everything going on. He thinks it’s so cool that I’m doing this. I hope he’s going to come and see me. I can’t wait; I didn’t realise how much I would enjoy being in theatres, because I’m not a luvvie or a great fan of West End musicals. But I just love being in the theatre space.’ I don’t like to tell Bell that he will be performing in a university lecture hall now he has a taste for the boards. Ashton intends to continue Torsten’s story over a couple more episodes and Bell, for his part, would like to continue in the role. ‘I said to Barney “when it comes to the movie, don’t sack me when they get Ryan Gosling to do the part because I’m too old by then”. It would be brilliant to do it when you’re 80.’ Torsten the Bareback Saint, Assembly George Square Studios, George Square, 0131 623 3030, 5–16 Aug, 6.30pm, £16–£19.

PRESENTS

From internationally successful pop-duo Erasure, singer ANDY BELL is

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list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 71

FRINGE:MUSIC KLANGHAUS

TOP 5

THE GIG IS UP For many, appearing at the festival is a feat of endurance by doing show after show across a whole month. For others, this is the perfect time to enjoy a one-night stand

WITHERED HAND The self-deprecating Dan Willson (he slagged his own voice off at an Usher Hall anniversary bash earlier this year and says his kids are the band’s toughest critics) gets set to receive the acclaim of others with tunes from breezy latest record, New Gods. Queen’s Hall, Clerk Street, 0131 668 2019, 21 Aug, 8pm, £13.

EDGE OF DARKNESS With KlangHaus, the Neutrinos are smashing apart traditional notions of how a gig should be. Neil Cooper learns what can be achieved by listening to a room

espite its name, the new show by darkhearted art-rock ensemble the Neutrinos is about much, much more than mere music. By keeping the audience in the dark at Summerhall’s already atmospheric Small Animal Hospital and utilising an array of slide projectors beaming out homemade pics created by artist Sal Pittman to play with the early evening light, KlangHaus (it translates as House of Sound) becomes what the Neutrinos describe as a 360-degree immersive experience. ‘It explores extremes of performance,’ explains Neutrinos’ vocalist Karen Reilly from the band’s spiritual home of Berlin, where the seeds of KlangHaus were sired. ‘With the slides we can really shape-shift the room, so your perception is altered, and because the room was a small animal hospital, the idea of anaesthesia keeps returning.’ Reilly and co are currently drawing some last-gasp inspiration from visiting Teufelsberg, the artificial hill built in Berlin out of World War II rubble on which an American listening

station was built. Some of what they hear may end up either in KlangHaus or else in little sonic installations which Reilly describes as ‘sound graffiti’ placed around Summerhall. ‘Music can be groundbreaking,’ Reilly says, ‘but when you go to gigs, the format is really conservative. It’s always first band, second band, encore. We wanted to break out of that, so we started listening to rooms, and pulling out what we could hear. It’s like the bones have gone, but the songs breathe on.’ While one might presume that KlangHaus would work best after dark, Reilly seems to prefer the Neutrinos’ teatime slot. ‘To be doing something like this so early in the evening, and then to have the rest of the evening to do other things gives people a strange feeling. It’s like having a really good afternoon nap.’ KlangHaus, Summerhall, 0845 874 3001, 5–24 Aug (not 11, 18), various times, £12 (£10). Previews 1–3 Aug, 4pm, 6pm, £6.

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NIKI KING QUINTET Fans of both the honey-tonsilled Niki King and legendary jazz composer Duke Ellington are in for a double treat in Musselburgh with this exhibition (well, why not: this is art, is it not?) of the great man’s finest songs. Brunton, Ladywell Way, 0131 665 2240, 10 Aug, 7.30pm, £16 (£14). ASIAN DUB FOUNDATION It’s a big comeback year for ADF and once they have blown the roof straight off the Liquid Room, they jaunt over to Summerhall for a bit of afters. At this live DJ set, they are joined by Pandit G and Aktavata. Summerhall, 0845 874 3001, 2 Aug, 11pm, £10 (£8). RM HUBBERT WITH EMMA POLLOCK The SAY award winner of 2013 hooks up with former Delgado, Emma Pollock. They’re far from strangers, though, given that they collaborated on an EP two years back, helmed by the delightful ‘Half Light’. Queen’s Hall, Clerk Street, 0131 668 2019, 20 Aug, 9pm, £14. THE RISING It’ll almost feel as though the Boss and his E Street Band are actually in the room. Well, maybe not, but the Rising certainly emulate Springsteen’s fondness for long shows, with this clocking in at a mammoth 150 minutes of heroically working-class nostalgia. Citrus Club, Grindlay Street, 0131 226 0000, 23 Aug, 7.30pm, £10.

Tickets: 0131 665 2240 www.thebrunton.co.uk www.edfringe.com/venues/the-brunton Classical Music Royal Conservatoire of Scotland: Pianos @ One MacFloyd

Aug 7

Keep Smiling Through

Aug 8

We3tenors

RM HUBBERT WITH EMMA

POLLOCK

WED 20 TH AUGUST

EDINBURGH QUEEN’S HALL

0131 668 2019 / 0844 844 0444 queenshall.net ticketmaster.co.uk 2 SHOWS ONLY a REGULAR MUSIC presentation

Aug 5 - 23

Aug 9

Niki King Quintet

Aug 10

Them Beatles

Aug 14

Scottish Swing Orchestra

Aug 16

Laughing Jacks: The Dolly Parton Story

Aug 21

Blazin’ Fiddles

Aug 22

The Singing Kettle: Jungle Party Alex Hodgson ‘n’ The Craws Return

Aug 23 - 24 Aug 25

Cinema: The Two Faces of January (12A)

Aug 6

Xmen: Days of Future Past (12A)

Aug 28

Illustrated Talk Jimmie MacGregor: Dunbar to Yosemite

Aug 15

Theatre Stellar Quines: The Carousel

Aug 27

Theatre Alba: Mary Stewart

Aug 30

Outdoor Theatre at Inveresk Lodge Gardens Quantum Theatre: Alice Through The Looking Glass & The Tempest

Aug 17

SAT 23 AUGUST

Edinburgh Queen’s Hall 0131 668 2019 0844 844 0444 WWW.TICKETMASTER.CO.UK

o n sta g e 7: 3 0 p m & 9 : 4 5 p m

5-30 August 2014 Tickets: 0131 665 2240 thebrunton.co.uk www.edfringe.com/venues/the-brunton thebruntonmusselburgh @thebrunton list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 73

FRING E : THE ATRE

GLOVE STORY After glorious success with their site-speciﬁc work about domestic violence, Common Wealth are off to the gym for a drama featuring female Muslim boxers. Malcolm Jack hears why preparations will continue right up to the ﬁrst bell

he inspiration for what would eventually become No Guts, No Heart, No Glory reached Common Wealth theatre company co-founder Evie Manning from an unlikely source: her next-door neighbour, a 35-year-old Muslim and mother-of-nine. ‘She said to me that she was doing boxing and would I like to go along,’ Manning recalls. ‘I was really shocked, but then I thought “God, where did that come from: why am I so shocked?”’ You can’t blame her for feeling at least a little surprised by the idea of a mum-of-nine thwacking a punch bag. But it was more so the religious dimension which caused Manning to chastise herself for being so taken aback. After all, who says a Muslim woman can’t pull on a pair of gloves and get in the ring? It transpires that there’s a growing number of female Muslim boxers like Manning’s neighbour around Britain. Their experiences inform this smart, energetic and switched-on piece, which takes place in a real Edinburgh boxing gym to a thumping live electronic score. The original title was Girl Boxer and then changed to Us Champions before the company settled on No Guts, No Heart, No Glory, a name which suggests the play is not simply about sport. Despite the setting, it’s

concerned more with inspiring women (Muslim women in particular) to do whatever they want and to be whomever they want to be, dealing stereotypes and erroneous preconceptions a fat lip in the process. The likelihood of this presenting one of the most interesting and important productions on the 2014 Fringe increases when you factor in its site-specific setting, and Common Wealth’s proven commitment to successfully engaging non-theatre audiences. Our Glass House was the Bradford-based company’s troubling rumination on domestic violence, staged at last year’s Fringe on a council estate in Wester Hailes to an exceptional response. No Guts, No Heart, No Glory will also occur on the fringes of the Fringe. Specifically, Sandy’s Boxing Gym at Castleview Community Centre in the south-east Edinburgh suburb of Craigmillar. ‘The Fringe has never been to Craigmillar before,’ says Manning. ‘Just as, until last year, it had never been to Wester Hailes. The interesting thing is that we’re making quite experimental works, but people in these areas totally get it. I spoke to a journalist the other week, and she asked “what are the barriers of getting in a non-theatre audience?” And I had to be honest: there aren’t any barriers. People want to see the work, so it’s about coming to them.’ list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 77

FRINGE:THEATRE COMMON WEALTH

SITE SEEING

A boxing gym is certainly an unusual venue for a Fringe theatre show. But, how about a beach, bed or bus? OUT OF WATER Live art clashes with music and rubs up against theatre in probably the earliest show at the Fringe. Stories of endeavour are interwoven with haunting music, lifeguard drills, calls for help and struggles for breath featuring a score by Jocelyn Pook and performances from chart-topping soprano Laura Wright. Summerhall @ Portobello Beach, 0131 226 0000, 8–10 Aug, 6.30am, 8.30pm, £10 (£8). MENTAL Directed by Kim Noble (he of deconstructionist art / comedy double act Noble and Silver) and set in a bedroom, a man dubbed the ‘Vacuum Cleaner’ recalls his years of struggle against the state, the Mental Health Act and multinational corporations. For each show, 12 people are invited to join him under an oversized duvet. Pleasance Courtyard, Pleasance, 0131 556 6550, 7–24 Aug (not 11–13, 18–20), 6.30pm, £10 (£8). BACK OF THE BUS If you thought catching the late bus home can sometimes be a crazy experience, why not hitch a ride with Java Dance as they take you on a truly magical and potentially mysterious tour through the city. Assembly George Square Gardens, George Square, 0131 623 3030, 4–21 Aug (not 11, 16), 4.30pm, 6.15pm, £10.50–£11.50 (£9.50–£10.50); 8, 15 Aug, 8pm, £11.50 (£10.50). ALICE Fourth Monkey deliver an innovative late-night promenade take on Lewis Carroll’s iconic masterpiece. Not sure where the Mad Hatter’s going to get a cup of tea at that time of day, though. TheSpace, North Bridge, 0131 510 2386, 8–23 Aug (not 10–12, 17–19), 11.55pm, £14 (£12). Previews 6 & 7 Aug, £10 (£8). EARLY DOORS If you go down to the pub today you’re in for a big surprise as Not Too Tame (motto: ‘theatre for all’) transform one of the Old Town’s most iconic watering holes (famed for being frequented by George Best and journalists aplenty) into an immersive theatre space. The Jinglin’ Geordie, Fleshmarket Close, 0131 226 0000, 2–25 Aug (not 11, 19), noon, £7.50–£10 (£6.50–£9). Previews 30 Jul–1 Aug, £6.

‘OUR SHOWS ARE NOT MADE UNTIL YOU PUT AN AUDIENCE IN THERE’ Manning recognises that the Fringe might leave people who don’t naturally gravitate to the centre of Edinburgh feeling a bit isolated from everything that’s going on in August. ‘For us, it’s about going into an area and saying, “this is yours and this is for you”; it’s all about creating that buzz. We get local people in who, despite the Fringe taking place every year in their city, might never have been part of it before.’ Devised in collaboration with four 16 to 19-year-old Muslim female performers, No Guts, No Heart, No Glory unfolds at pace in non-linear, non-narrative fashion, through a tapestry of real experiences woven together from the testimonies of female Muslim boxers around the UK, all of whom Manning and Common Wealth have searched out and interviewed. One of them is 19-year-old Ambreen Sadiq – a former British Junior National Boxing Champion with serious ambitions of fighting at the Olympics and one day turning pro – who proved such an inspiration that she’s been brought in to effectively ‘coach’ the girls, ensuring their boxing and their stories feel authentic. ‘I don’t see them as actresses, I see them as boxers,’ Sadiq declares of her charges, with a natural, plainspoken assertiveness and earnestness that, like so much she says, belies her years. ‘It’s a play, but I see it as a ring, and they want their coach there to corner them.’ Sadiq has had to fight to get where she is today in more ways than one. Initially attracted to the gym because she was being bullied over her mixed Portuguese-Asian heritage, boxing has now divided her community and family. She’s received death threats from strangers over the phone and internet, and Sadiq’s own uncle has fallen out with her because of those sporting ambitions. ‘They wouldn’t say it to my face,’ Sadiq comments on the cyberbullies and disapproving friends and relatives, ‘but they’ll

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say it to my parents or behind a screen. It just makes me push even harder. I want to inspire girls. I’ve never really been involved in a play before but it’s great to do something different. I really want to get my story across to girls my age and inspire them to follow their own dream even if it’s not boxing. Just to do what they want to do, and not what everyone else wants them to do.’ This all suggests a knockout victory for No Guts, No Heart, No Glory, though there is one small complication to overcome. ‘We can only start rehearsing from literally the 1st of August,’ Manning reveals, ‘because it’s Ramadan throughout July and we can’t do that much because the girls are fasting. So we’ve got a two-week period in which we can put it together, and it’s going to be absolutely mad. It’s quite scary, but I thought that was what the Fringe is about. You’re not meant to go there with this perfect play; it’s about putting it on and seeing what happens. Our shows are not made until you put an audience in there anyway.’ Our Glass House garnered excellent reviews last year, and assuming the challenges of a kamikaze rehearsal schedule can be successfully tackled, Manning is confident No Guts, No Heart, No Glory will be equally as well-received. Even if that’s scarcely the point about a piece of community-minded theatre which, as she explains, strives for more direct human outcomes than critical approval. ‘The feedback from local residents makes our day. It’s brilliant to get the reviews that Our Glass House had. But the thing that makes us buzz most is when our next-door neighbour comes around and gives us a thank-you card.’ No Guts, No Heart, No Glory, Sandy’s Boxing Gym, Craigmillar Castle Avenue, 0131 226 0000, 18–21, 25 Aug, 2pm, 22–24 Aug, 4pm, 8pm, £12 (£6).

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FRINGE:THEATRE ANNE ARCHER

PEACE, LOVE AND MISUNDERSTANDING When Jane Fonda outraged US public opinion during the Vietnam War, was she exercising free speech or being duped by a cunning PR machine? Claire Sawers talks to Anne Archer about the new play that sheds light on a dark period in America’s past

ane Fonda is famous for plenty things. Writhing around in wet-look silver as a coquettish space traveller in thigh boots for Barbarella. Lunging and reaching through aerobics workouts, shrink-wrapped in Lycra leotards and building up her own fitness empire. Waltzing her way to an Oscar nomination in They Shoot Horses, Don’t They?. And wisecracking in Nine to Five alongside Dolly Parton and Lily Tomlin. But her haters remember Fonda most for an ill-advised move she made during the Vietnam War. On a 1972 visit to a Hanoi military base, she sat down on an anti-aircraft gun. It belonged to the Vietnamese, and was designed to shoot US soldiers. Perched there, with ammunition piled at her feet, Fonda laughed, pulled goofy faces, winked, clapped her hands, and joked with Vietnamese people around her. She’d been a staunch antiwar activist for a couple of years by that point, and part of the FTA (‘Fuck the Army’) travelling sketch troupe with Donald Sutherland. This was the last straw. When photos got out, it was taken as her petulantly flipping the bird to the US military, and anyone who supported it. Soldiers called her ‘Hanoi Jane’ and it stuck. Cadets at the US Naval Academy learned to chant ‘Goodnight, Jane Fonda!’ and the whole company would shout back ‘Goodnight, bitch!’ Even now, a Google search throws up pages of hate-filled posts about the ‘whore of communism’ and her ‘ugly little mouth’. ‘It was a terrible, terrible mistake,’ says Anne Archer, who’ll be playing Fonda in a new Fringe drama which focuses on her controversial anti-Vietnam activism. ‘The whole country was protesting and not just the hippy movement: everyone was rebelling against the war. I don’t care how tired she was, she shouldn’t have sat on that tank. But she regrets it, and she says she will regret it until the day she dies.’ The Trial of Jane Fonda zooms in on a later event during the 1980s, where Fonda was in Connecticut, faced with irate Vietnam vets who tried to stop her filming the movie Stanley & Iris. It was her co-star Robert De Niro who suggested she met with them in an attempt to defuse things. That sit-down is the crux of this new play, and helps unravel how a hot property celebrity of the time got drawn into a war of spin, political protesting and accusations of treason: on both sides. ‘It becomes pretty apparent that she was used,’ shrugs Archer, a sage mix of calm, reticence and softness, who you may recognise as the docile brunette that Michael Douglas cheated on in Fatal Attraction, or Harrison Ford’s surgeon wife in Patriot Games. ‘How can we say for certain that that day with the gun wasn’t a stunt or a 80 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

trap?’ says Archer. Like her husband Terry Jastrow, who wrote and directed the play, she’s done her homework into Fonda’s life, using an especially fine-toothed comb to run through that day at the army base. ‘Jane wasn’t the only one protesting; everyone was speaking out, but she was particularly famous at that time. She was Henry Fonda’s daughter and she’d just won an Academy Award [for Klute]: the press would grab at anything she’d do.’ Archer, who founded and runs Artists for Human Rights, which raises awareness for the UN Universal Declaration of Human Rights, believes Fonda was just a propaganda pawn, someone in the limelight who needed to be publicly brought down a peg or two after speaking out against the war. ‘Jane herself admits she is someone who was eager to please, especially the men in her life: her father, her husbands,’ says Archer. ‘On that day, she had told her guides three times that she didn’t want to visit a military installation. They insist, she doesn’t want to disappoint, she’s exhausted, she agrees: suddenly there are film crews around which haven’t been there before. If it hadn’t happened to her, they’d have found someone else. When you live to hate, there’s always someone to target.’ Jastrow wrote to Fonda about his plans to make a movie about her activism, but she tried to talk him out of it. LA film producers took one look at his screenplay and dropped the ‘hot potato’. Jastrow wasn’t listening and decided to bring a world theatre premiere to Edinburgh. He hopes that his combination of research (he tracked down Fonda’s guides and interpreters in Hanoi, and stayed with the actress at her Santa Fe ranch), plus his leading lady (‘Anne Archer is a class act, world class’, he beams about his wife) will give this story the clout it needs to go down well with Fringe audiences. Ultimately, he hopes it will make it to the West End. ‘Vietnam was the first televised war,’ Jastrow explains. ‘That in itself interests me, but the issues Jane’s story brings up are universal and timeless. We saw them again with Iraq and North Korea, and we’ll keep seeing them. America considers itself a country where we permit dissent, free thought, and freedom of speech. Does opposing war make you a peacemaker or a traitor? I know some sleeping dogs should be left to lie, especially when they are very vicious, aggressive ones. But it’s only by looking at our past that we stand any chance of not repeating it.’ The Trial of Jane Fonda, Assembly Rooms, George Street, 0844 693 3008, 1–24 Aug (not 11), 4.05pm, £16 (£13). Previews 30 & 31 Jul, £10.

ANNE ARCHER THEATRE:FRINGE

WOMEN OF SUBSTANCE

Jane Fonda isn’t the only strong female being celebrated at the Fringe. Here’s a further quintet of dramatic dames

MARGARET THATCHER QUEEN OF SOHO You’d think there might have been a section of the Fringe programme solely dedicated to the Iron Lady by now. But until then, the true blues can go purple with fury at Matt Tedford’s interpretation of Lady Mags as a drag diva: ‘where there is disco, may we bring harmonies’ and so on. Assembly George Square Gardens, George Square, 0131 623 3030, 2–24 Aug (not 11), 9.10pm, £10–£13 (£9–£12). Previews 31 Jul & 1 Aug, £8 (£7).

ST JOAN Written by Julia Pascal, three women play Joan of Arc in different historical times to ask ‘what would the Maid of Orleans do?’ A slow-burner? Probably. Bedlam Theatre, Bristo Place, 0131 629 0430, 2–24 Aug (not 12), 4.30pm, £8 (£6.50).

BETTE DAVIS AIN’T FOR SISSIES There’s one thing we know for sure about Bette Davis: she had Bette Davis eyes. In this one-woman extravaganza, Jessica Sherr takes us to the night before the 1939 Oscar ceremony with our heroine unknowingly about to lose out on the Best Actress gong to Vivien Leigh. Assembly Rooms, George Street, 0844 693 3008, 1–24 Aug (not 11), 2.45pm, £10 (£9). Preview 31 Jul, £9 (£8).

ZELDA: THE LAST FLAPPER

‘DOES OPPOSING WAR MAKE YOU A PEACEMAKER OR A TRAITOR?’

William Luce’s 1980s play about the wife of F Scott Fitzgerald, who had her own creative talents, gets the adaptive treatment from the Women’s Theatre Association IF. Hill Street Solo Theatre, Hill Street, 0131 226 6522, 2–24 Aug (not 12), 3pm, £10. Previews 31 Jul & 1 Aug, £7.

JANIS JOPLIN: FULL TILT One of the 1960s’ true firebrands is unleashed with an energetic performance from Angela Darcy in this NTS ‘rockdrama’ which stormed it in Glasgow last year. Assembly Checkpoint, Bristo Place, 0131 623 3030, 2–24 Aug (not 12, 19), 8.50pm, £12–£13.50. Previews 31 Jul & 1 Aug, £10.

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 81

SHAKESPEARE THEATRE:FRINGE

SHAKE IT UP As his 450th birthday is marked, the Fringe shows no signs of abandoning the Bard’s back catalogue. Gareth K Vile chats to directors, producers and writers who are all set to bring us some more of that Will power

‘I

t’s hard to separate the existence of British theatre from the fact of Shakespeare. After all, there isn’t another culture that can boast not only the world’s greatest playwright but one of the greatest writers ever to have lived,’ says Ramin Gray, artistic director of the Actors Touring Company. The proliferation of Shakespeare across this year’s Fringe might well be a specific tribute to mark the 450th anniversary of the Bard’s birth, but every year seems to offer a similarly large variety of adaptations of Macbeth, Hamlet and even the occasional comedy. Peter Phillips, producer of Et Tu Elvie, has a simple explanation for Shakespeare’s continued importance. ‘Timelessly good stories and powerful characters, plus a brand that is self-perpetuating.’ Both Phillips and Gray offer fresh adaptations of Shakespeare: Gray has a new play, Blind Hamlet, from Iranian playwright Nassim Soleimanpour (best known for White Rabbit, Red Rabbit), while Phillips uses Shakespeare’s famous ‘seven ages of man’ speech to reveal that the life of another king, Elvis Presley, was a Shakespearean tragedy. Perhaps it is this strength of the brand and the stories that lend Shakespeare a special flexibility.

Even the children’s section has a healthy selection of adaptations: The Playground Theatre are holding Billy’s Birthday Bash: Let’s Party Like It’s 1564! and the tale of Brave Macbeth is being retold by Captivate Drama. For adults, there’s the perennial late-night comedy Shit-Faced Shakespeare, in which one cast member tries to perform while ‘tired and emotional’. Gray is especially positive about the continued importance of Shakespeare. ‘If theatre plays such a central role in our culture, then that is in great part due to the scale of Bill’s achievement,’ he says. ‘I don’t, for example, feel at all threatened by him or hold that new writing is stunted in any way by Shakespeare.’ The Reduced Shakespeare Company made their name by editing the complete works into an imaginative and very funny compendium. Returning to the Fringe for the first time in nearly a decade, writers Austin Tichenor and Reed Martin found that the classics made ideal bite-sized entertainment for Renaissance Fair audiences. ‘It started as a busking act,’ Martin remembers. ‘Everyone in the company has a good list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 83

FRINGE:THEATRE SHAKESPEARE

Women of substance: Marnie Baxter as Anna Politkovskaya and (below, left) Ines Wurth as Yulia Tymoshenko Bard company: Brave Macbeth, Shit-Faced Shakespeare

background in Shakespeare – we get our facts correct, unless we are twisting them for comic effect – but it was designed as an entertainment, not an academic exercise.’ The Reduced Shakespeare Company’s Complete Works (Abridged) has become a touring staple since the 1990s and despite their witty irreverence, they see a connection with the source author. ‘We are all men, like the companies of Shakespeare’s time,’ laughs Tichenor. ‘And we aim to entertain. Although he has become high art now, he was an entertainer. If he were alive today, he’d be writing film or TV.’ Phillips has adopted the RSC’s approach – albeit to forge a tragedy – in utilising Shakespeare as a template. ‘A few years ago, the theatre venue we use for an Elvis Festival in Porthcawl was staging one of those “complete works of Shakespeare” shows,’ he says. ‘And it gave me the loose idea of matching bite-size, wellknown pieces of Shakespeare with an appropriate Elvis song; for example the letter scene in Romeo and Juliet with “Return to Sender”.’ This evolved into something grander. ‘There are seven scenes in the show which represent stages of Elvis’ life, from Memphis in the mid-50s when he transformed modern music to his lonely and tragic death in Graceland. The Shakespearean parts are played by actors while a professional Elvis tribute artist performs the songs.’ Gray’s Blind Hamlet is equally inventive with the source. ‘It came out of a conversation with Nassim Soleimanpour when we discovered a shared love of the party game Mafia and Hamlet,’ he says. ‘Nassim’s starting point was the proposal to mash up the two things, to force Hamlet through a Mafia-like structure. And I could immediately see the resonances, the overlapping of doubt, deceit and play.’ Although the particulars of these versions – the RSC’s roots in that American tradition of the Renaissance Fair, Phillips’ contemporary icon and Gray’s interest in game play – are all modern, the apparent irreverence for the sanctity of Shakespeare’s text is not. Indeed, it was abridged, truncated and rewritten versions of King Lear and co that kept Shakespeare on the stage for much of the 19th century. And the RSC, at least, keep the stories: the actor-managers of the Victorian era had a habit of giving Lear a happy ending. Equally, all of these versions pay respect to the power of theatre as a medium for communication, and the importance

‘I DON’T FEEL AT ALL THREATENED BY SHAKESPEARE’

84 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

of the live audience. Reed and Tichenor declare that ‘we are the audience! We come from the audience! If you can’t break the fourth wall and have fun with it, you might as well put it on TV!’ Gray, on the other hand, is willing to admit that ‘there will be engagement with the audience in traditional and nontraditional ways. I won’t say more than that: you journalists are always trying to pluck out the heart of our mysteries . . . ’ Alongside the proliferation of Macbeth productions – 2014 is another bumper year for the Scottish play – and attempts to ‘get back to the original’, these three versions pay a far greater compliment to the birthday bard. They affirm that his work is still relevant, not by invoking some universal values or praising the poetry but by following his attitude towards performance. Intelligent, but not stuffy, entertaining but not trivial, Shakespeare’s craft as a playwright embodies these qualities and his sense for a good yarn. Blind Hamlet, Assembly Roxy, Roxburgh Place, 0131 623 3030, 2–25 Aug (not 12, 18), 2.50pm, £14–£15 (£13–£14). Previews 31 Jul & 1 Aug, £10. Et Tu Elvie, C, Chambers Street, 0845 260 1234, 30 Jul–25 Aug, 10.55pm, £8.50–£10.50 (£6.50– £8.50). Billy’s Birthday Bash: Let’s Party Like It’s 1564!, Assembly George Square Gardens, George Square, 0131 623 3030, 2–25 Aug (not 18), 2.10pm, £9–£10 (£7–£8). Previews 31 Jul & 1 Aug, £6.

Brave Macbeth, Famous Spiegeltent, St Andrew Square, 0844 693 3008, 1–25 Aug (not 4, 11, 18), 11am, £10 (£32 family ticket). Shit-Faced Shakespeare, Underbelly, Bristo Square, 0844 545 8252, 2–25 Aug, 10.20pm, £10–£11.50 (£9–£11). Previews 30 Jul–1 Aug, £6. The Complete Works of William Shakespeare (Abridged) (Revised), Pleasance Courtyard, Pleasance, 0131 556 6550, 17–25 Aug, 4pm, £12–£17 (£11–£16).

list.co.uk/festival list.c lis ist.c t.co.u o.uk/f o.u k/fest k/f es iva est vall | Edi Edinbu Edinburgh nburgh nbu rgh Fe Festi Festival stival sti st va Gu val Guide ide de 201 2014 20 4 | THE LIST LIST 85

FRINGE:THEATRE DIANA RIGG

EVERETT COLLECTION/REX

‘I’VE BEEN IN A PLAY WHERE I FELT SORRY FOR THE CRITICS’

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DIANA RIGG THEATRE:FRINGE

GAME OF STONES As Edinburgh readies itself for another avalanche of star ratings, Fringe ﬁrsttimer Dame Diana Rigg tells Mark Fisher why she rates theatre critics so highly. Even if they have been pretty horrible to her in the past

omething fishy is going on in theatreland. There’s a meeting of the Critics’ Circle but one of the members hasn’t shown up. Every time a concerned journo goes to investigate, they disappear too. At the mystery’s heart is Edward Lionheart, an actor in the grand tradition. He’s been assumed dead for two years, but now, in revenge for a lifetime of bad reviews, it seems he’s bumping off the critics one by one. The clue to it all could lie with his daughter, Edwina, whom we find leaving lilies at his memorial statue. ‘Well, the brilliant Peregrine Devlin,’ she says to one of the critics. ‘Wielder of the brutal aphorism, master of the killing phrase: my father’s murderer!’ Before long, the finger of suspicion will point in her direction. These are the opening scenes of Theatre of Blood, the classic 1973 horror-comedy newly re-released on Blu-ray, and starring a post-Avengers Diana Rigg. Now 20 years a dame, Rigg is making her Edinburgh Fringe debut with a compendium of critical put-downs based on her 1982 book, No Turn Unstoned (subtitled ‘The Worst Ever Theatrical Reviews’). This evidence would suggest her hatred of critics is deep and longstanding, but the reverse is the case. Oddly, it’s only when I mention Theatre of Blood that thee d thought even occurs to her. ‘I’d not made that connection,’ shee says. ‘It’s purely coincidental.. d I don’t have it in for critics and I never have. The genesis of thee h book was nothing to do with tilting a lance at critics. It wass putting them into the context off theatrical history.’ u She does admit that you d couldn’t read No Turn Unstoned without a sense of humour. It quotes Benedict Nightingalee g describing Simon Callow playing Mozart in Amadeus ‘as a goonish cross between a chimp and a donkey’. Julie Christie’s local paper said she ‘should never, ever, be allowed to sing unaccompanied on stage again’. Even John Gielgud does not come out unscathed: Ivor Brown said he had ‘the most meaningless legs imaginable’. But Rigg acknowledges that in her line of work, criticism goes with the territory. ‘Critics have to sit through an awful lot of rubbish and you feel really sorry for them,’ she says. ‘In fact, I’ve been in a play where I felt sorry for the critics.’ Not only that, but she reckons, historically, critics have done an invaluable job. ‘We depend on the critics to give us a glimpse of what happened. Bernard Shaw championed Ibsen, who got the most terrible notices for his plays. Kenneth Tynan championed young writers and as a result the theatre has changed radically. The number of young writers we have now is wonderful and that is as a direct result of Tynan lighting the blue paper under all those vapid drawing-room comedies. It’s not about knocking critics and never has been.’ Not that it doesn’t sting when a bad review strikes. The Edinburgh Fringe must generate more criticism per actor than anywhere in the world. There will be many a Fringe performer in the coming weeks who shares the pain Rigg felt when US critic John Simon said she was ‘built like a brick mausoleum with insufficient flying buttresses’. For all her

championing of critics, she can give as good as she gets and still seethes at the memory of a Guardian review by Nicholas de Jongh (she calls him ‘Nicholas de Wrong’) that rubbished her performance as Cleopatra in a 1991 production of All for Love to devastating effect. ‘He had no right to do that,’ she says. ‘He had a witty turn of phrase, always at somebody else’s expense, and he got himself a following. He was dreaded, but he seemed to take a delight in destruction, which made good reading but was no good for the theatre.’ When a somewhat contrite de Jongh turned playwright in 2008, he told The Guardian he expected rough treatment by the actors he had once savaged: ‘I said Diana Rigg had a shot at the part and killed it stone dead. I understand why she’d loathe that.’ Now at the age of 76, this keen theatregoer can’t wait to wind up in the midst of Edinburgh’s cultural melee and to check out other acts. D Despite her level of experience, she hhas never stopped learning. ‘I went to see Heartbreak House at the A Almeida starring Penelope Wilton. II’d done Heartbreak House and was nnot at all satisfied with myself and P Penelope Wilton got it right. I was ttoo pushy in the part and she was w wonderfully cool. You do learn. A Anybody who acts on the back foot ir irritates the living daylights out of m me when I see them on stage.’ Although she has never done the F Fringe, she knows Edinburgh from tthe time her daughter and fellow D Doctor Who star Rachael Stirling w was at university in the city. No T Turn Unstoned was a piece she first performed on the American ccollege circuit (‘Mrs Thatcher was ggoing around at the same time and eearning probably 50 times more tthan I was’), but only recently has she returned to it, this time as a way of raising money for unsubsidised theatres. Adding recent reviews to the historical material, she’ll be reaching a new generation on the Fringe. Among them are sure to be fans of Game of Thrones, in which she plays elder stateswoman Lady Olenna Tyrell. Once the Fringe is behind her, she’ll be heading to Dubrovnik for more filming, as well as passing on some crucial down-time skills to her younger co-stars. A long-time games player, she’s been introducing them to everything from complex mind games to tavli, the Greek equivalent of backgammon. ‘There’s a lot of sitting round and I’m a games person,’ she says. ‘I used to have a bridge session in my dressing room at the Old Vic on matinee days. I’m really grateful for Game of Thrones. It’s something wonderful to happen to an actress of my age and Dubrovnik is astonishingly beautiful.’ First though, in true Fringe spirit, she’d like No Turn Unstoned to fly the flag for the artform so central to Edinburgh in August. ‘I hope it generates courage and pride in the profession of acting. I’m going to have a good time.’ Diana Rigg: No Turn Unstoned, Assembly Checkpoint, Bristo Place, 0131 623 3030, 14–23 Aug, 1.20pm, £12.50–£15 (£10–£13). list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 87

FRINGE:THEATRE CHRIS GOODE

URBAN HIMS The sweet and lyrical theatrical CV of Chris Goode is about to take a darker twist. David Kettle explores the themes behind his tale of violence and complicity

‘I

’m in the kind of mood where I’m lobbing a brick through the window and running off, and I’m interested in what people do with the mess I’ve left behind.’ It’s hardly the kind of wanton act of violence we might expect from writer, director and actor Chris Goode. After all, he’s been revered for a succession of gentle, lyrical, sweetly poignant Fringe shows over the past few years (think Monkey Bars, The Adventures of Wound Man and Shirley, Hippo World Guest Book, Kiss of Life). But then his new solo Fringe offering is a radically different beast. Men in the Cities takes as its trigger two acts of shocking violence: the (fictional) suicide of a young gay man, and the real-life murder of Lee Rigby in Woolwich last summer. From there, Goode explodes his narrative into microscopic and intentionally bewildering detail. ‘You meet lots and lots of different characters; the piece is built out of dozens of tiny thumbnail portraits of people, and then we follow about half a dozen of them in more depth.’ These include everyone from a working-class man nearing retirement who no longer knows what to believe, to a ten-year-old obsessed with punk rock. ‘Obviously that’s partly saying something about how it seems to me we live and relate to each other now; and the ways we organise society to promote a vision of ourselves as atomised, where the idea of us as individuals is paramount.’

It’s a new way of writing for Goode (‘it goes slightly against my natural instinct to write in long, lyrical arcs’) and so are its themes of complicity, anger and harm. ‘But in a sense, Men in the Cities’ anger comes from a kind of optimism,’ he says, ‘of wanting us to be able to imagine living better. I think it’s bringing out my own punk side a little bit, which is not something I’ve unleashed for a while.’ When we speak, Goode is deep in the writing process and reluctant to be drawn further on specific storylines. ‘On the surface, it’s about the damage we do to ourselves by requiring

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ourselves to live in a certain way,’ he says, accepting that he’ll be dealing with some tough issues. ‘It’s a piece that’s about violence, but I hope that in itself it’s not a violent piece. I think there’s space in the show for confronting difficult stuff, but I hope it won’t be me and the audience eyeballing each other. And the Traverse has a reputation for being a place where difficult things can be talked about.’ What does he imagine the audience will take away from the show? ‘In a way I’m interested in the energy from refusing to answer that question, and in trying to make something through a burst of energy, anger and resistance, just to see what the fallout might be.’ Putting the show together been a far from comfortable experience for Goode. ‘It has a kind of volatility that’s really exciting, but which makes me pretty nervous when I sit down at my desk to start writing. I can’t touch this stuff for more than an hour or two without feeling I need to go for a walk. But I have a feeling that the writing is going to be the easy bit; standing on stage, having to say these words night after night, that’s a whole other thing I’m trying not to think about right now.’ Men in the Cities, Traverse Theatre, Cambridge Street, 0131 228 1404, 1–24 Aug (not 4, 11, 18), various times, £18 (£8–£13). Preview 31 Jul, 8.30pm, £12 (£7).

Regular Music supported by the National Theatre of Scotland in association with Richard Jordan Productions presents

From Fringe First Award winning playwright Peter Arnott and multi award winning director Cora Bissett (roadkill)

I am the rock, you are the f***ing window! It's a legacy that blazes on... â&#x20AC;&#x153;so brilliant and intense both musically and dramatically that it lifts the hairs on the back of the neckâ&#x20AC;?

THE SCOTSMAN

Assembly Checkpoint

31 July - 24 August (excluding Tuesday 12, 19)

8.50pm

First produced at Oran Mor as part of A Play, A Pie and A Pint

20:50

31 JUL - 24 AUG (NOT 12,19)

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 89

FRINGE HIGHLIGHTS

OTHER HIGHLIGHTS From old punks to new sketch acts, an opera about fame to a Welsh legend. Plus, there are rabbits, tigers and a short journey that might make you feel like one of the Three Little Pigs THÜNDERBARDS

CAMILLE O’SULLIVAN In 2012, the Irish chanteuse made her International Festival debut and this year’s landmark is her tenth anniversary of sold-out cabaret-style Fringe music events. Assembly Rooms, George Street, 0844 693 3008, 30 Jul–24 Aug (not 4, 11 & 12, 18), 9.45pm, £17.50 (£15). CIRCA: BEYOND For the best part of a decade, this alternative circus troupe has been charming the world. This time around they go Beyond featuring some Chinese poles and rabbit heads. Underbelly, Bristo Square, 0844 545 8252, 2–25 Aug (not 6, 12, 20), 7pm, £16.50–£18.50 (£15.50–£17.50). Previews 30 Jul–1 Aug, £12 (£11).

Burton

TIGER Everyone’s got a bit of the tiger in them, so this show from Barrowland Ballet can’t fail to make connections. Here, the dreary domestic space is turned into a vibrant colourful hub as a family dig deep to find some inner joy. EICC, Morrison Street, 0844 847 1639, 5–19 Aug (not 11), 6pm, £12 (£10). Previews 1–3 Aug, £10 (£8).

must-see music/spoken word event for anyone who lived through the late 70s or wish they had. Assembly George Square Gardens, George Square, 0131 623 3030, 1–6 Aug, 7.30pm, £15–£18. Preview 31 Jul, £9. SPOILING So, Scotland is now a fully independent nation and the Foreign Minister has got a big speech to make. But there’s something else that she needs to get off her chest first, a statement that has her press people getting all in a spin. Developed into a full piece from its roots as part of the Traverse Fifty, Spoiling stars Gabriel Quigley. Traverse Theatre, Cambridge Street, 0131 228 1404, 30 Jul–24 Aug (not 4, 11, 18), various times and prices.

GLEN MATLOCK

While John Lydon may have walked off with the glory and Sid Vicious took the notoriety, Glen Matlock can be more than proud of the contribution he made to music history as part of the Sex Pistols. A JAMIE BAKER

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POTTED SHERLOCK From the chaps who brought you Potted Potter, Potted Panto and Potted Paxman (they didn’t), comes the not quite so alliterative look at all the Holmes-related Conan Doyles. And there’s a lot of them. Pleasance Courtyard, Pleasance, 0131 556 6550, 1–25 Aug (not 6, 13, 20), 2.50pm, £11–£12 (£10–£11). Previews 30 & 31 Jul, £6. BURTON Rhodri Miles once acted beside Dominic West in Othello and they both now share the distinction of having played Richard Burton: West on the telly and Miles here, in this one-man tour de force which gives the Welsh actor’s side of his packed and not always pretty life story. Assembly Hall, Mound Place, 0131 623 3030, 3, 5, 7, 9, 12, 14, 16, 19, 21, 23 Aug, 11.10am, £8–£10. Preview 1 Aug, £5.

NEIL HAMBURGER Anti-comedy at its most virulently funny as the man whose modus operandi includes holding glass containers under an arm and loudly clearing his throat returns to Edinburgh with the sole purpose of absolutely slaughtering some sacred cultural cows. Underbelly, Cowgate, 0844 545 8252, 13–24 Aug, 8.50pm, £10–£12 (£9–£11). OUTINGS Not every show at the Fringe will be the result of something swimmer Tom Daley said, but this one is. His very public coming-out has influenced Outings featuring many other people’s experiences and with a revolving cast of actors and comics. Gilded Balloon Teviot, Bristo Square, 0131 622 6552, 1–25 Aug (not 6, 13, 21), 1pm, £12–£13 (£11–£12). Previews 30 & 31 Jul, £10. HUFF It doesn’t get much more intimate than this at the Fringe as audiences of three-at-a-time explore some curious chambers in a show inspired by the Three Little Pigs. Don’t panic about missing out, though, as performances begin every eight minutes. Traverse Theatre, Cambridge Street, 0131 228 1404, 1–24 Aug (not 4, 11, 18), 10.30am–7pm, £6. ANATOMY OF THE PIANO Giving us a music show with bits of comedy rather than the other way round, Will Pickvance conducts a part recital, part dissection of his chosen instrument (the clue is in its title). Not for nothing was he dubbed by Dylan Moran as ‘the Will Pickvance of his generation’. Summerhall, 0845 874 3001, 5–24 Aug (not 11), 8.20pm, £12 (£8; family ticket £30). Previews 1–4 Aug, £8.

DAMIEN WOOTTEN

One of the sharpest sketch double acts from last year’s Fringe, Glenn Moore and Matt Stevens storm back for Seconds with a set of skits united by the theme of time travel. Pleasance Courtyard, Pleasance, 0131 556 6550, 2–24 Aug, 4.45pm, £10–£12 (£8–£10). Previews 30 Jul–1 Aug, £6.

ALISON JACKSON: A STORY IN THE PUBLIC DOMAIN Remember BBC’s Double Take with Tony Blair fawning over George Bush and Diana’s sons tormenting Camilla? Alison Jackson is the artist behind that which filmed celeb lookalikes to question our relationship with fame. Here, she delivers an operatic take on the subject. Summerhall, 0845 874 3001, 21–24 Aug, 3.40pm, £10–£15.

HIGHLIGHTS FRINGE

KERRY GODLIMAN Another comedy act who has been away from the Fringe for a bit too long, primarily, it seems, to be the best thing in TV shows such as Derek. Her stage comeback is Face Time which will take apart our modern hang-ups with technology. The Stand V, York Place, 0131 558 7272, 13–24 Aug, 6.45pm, £10 (£8). Preview 12 Aug, £9 (£7).

Cariad and Louise

SIDDHARTHA THE MUSICAL Based on the novel by Herman Hesse that you all pretended to read at university to impress that boy/girl/ tutor, this musical comes live and direct from Italy, as a Prince goes on a spiritual quest for enlightenment. Accompanied by an Italian and South Asian-influenced pop-rock score. Assembly Rooms, George Street, 0844 693 3008, 1–24 Aug (not 6, 13), 6.10pm, £15 (£12). Preview 31 Jul, £14 (£11). DRACULA

country steps forward to a referendum that will alter everyone’s story. Assembly Rooms, George Street, 0844 693 3008, 1–24 Aug (not 11), 12.30pm, £15 (£13). Preview 31 Jul, £12 (£10). STEWART LEE The sold-out boards may have long been prepared for the Comedy Vehicle chap’s latest show but that’s no reason for us not to highlight

A Room with a Stew as one of the month’s stand-out stand-up hours. The Stand, York Place, 0131 558 7272, 2–25 Aug (not 11), 2.20pm, £10 (£9). EMILY BROWN AND THE THING Based on the Cressida Cowell book, the ever-reliable and excellent Tall Stories bring us the tale of a girl and her old grey rabbit having trouble getting to sleep thanks to something crying outside their window.

Pleasance Courtyard, Pleasance, 0131 556 6550, 1–24 Aug (not 7), 2.05pm, £8–£10 (£7–£9). Previews 30 & 31 Jul, £6.

Yes, this is a show with real bite etc. From the folk who gave us a stirring Clockwork Orange at the start of the decade comes this take on Bram Stoker’s classic chiller. It’s been called d a ‘swaggering steampunk gothic thrillllride’. Which sounds good, doesn’t it? ? Pleasance Courtyard, Pleasance, 0131 556 6550, 2–25 Aug (not 11), 9.20pm, £11–£14 (£10–£13). Previews 30 Jul–1 Aug, £8. CARIAD AND LOUISE’S CHARACTER HOUR They could have called themselves Lloyd and Ford (or Ford and Lloyd), but they didn’t. One of the big drawss of this year’s free entertainment lineup as these well-established comics gives us a series of ‘wünder-duets’. Counting House, West Nicolson Street, 0131 667 7533, 1–24 Aug (not 12), 4pm, free. THE PITILESS STORM David Hayman plays Bob Cunningham, a commited trade unionist who is forced to look at his life and beliefs afresh as the

Alison Jackson: A Story in the Public Domain

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PINA BAUSCH Five years on from her death, Pina Bauschâ&#x20AC;&#x2122;s reputation as one of the most important choreographers of our age is only strengthening with time. Tanztheater Wuppertal, the dance ensemble she led from 1973, are carrying on her work and taking that jaw-dropping oeuvre to new audiences. Featuring music from the diverse likes of Brian Eno, Tom Waits, Portishead and Lucky Pierre, Sweet Mambo is sure to be a blazingly innovative highlight of this yearâ&#x20AC;&#x2122;s International Festival. Q Edinburgh Playhouse, Greenside Place, 0131 473 2000, 23â&#x20AC;&#x201C;25 Aug, 7.30pm, ÂŁ10â&#x20AC;&#x201C;ÂŁ32.

SUPPORTED BY

94 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

â&#x20AC;&#x2DC;I CANâ&#x20AC;&#x2122;T LIE ON MY DEATH BED NOT HAVING DONE THIS JUST BECAUSE I WAS FRIGHTENEDâ&#x20AC;&#x2122;

SOFIE GRÅBØL INTERNATIONAL

KILLING TIME As Soﬁe Gråbøl joins the National Theatre of Scotland, she tells Mark Fisher about Sarah Lund, Denmark’s Queen Margaret and facing up to her own mortality

t’s not a career path any Danish actor would dare to imagine. Even for the most celebrated of that country’s stars, the prospects of working abroad remain slim. So although Sofie Gråbøl was one of Denmark’s bestknown actors long before being cast as straight-talking detective Sarah Lund in The Killing, she had little reason to ponder a life far beyond her native Copenhagen. Why would she? There, she could be with her two children, now aged nine and twelve, take roles in the Royal Danish Playhouse, work with Lars von Trier on The Boss of it All and pick up TV work just as she had done since the age of 17 by landing a part alongside Donald Sutherland and Max von Sydow in Oviri. ‘I’ve always been very privileged in Denmark that I’ve been able to move freely between film and theatre and television series,’ she says. ‘It was never an ambition of mine to go outside of Denmark to work. Since I’ve had children, I haven’t said yes to anything abroad because obviously I need to be here with them.’ Even when The Killing won a devoted following in the UK, cultivating a taste for subtitled telly, dreich Nordic cityscapes and big woolly jumpers, it was by no means certain that she’d capitalise on the international interest. After the third and final series came to an end in 2012, she went straight into period dress for a stage version of Ingmar Bergman’s Fanny and Alexander in Copenhagen. And then came the bad news when she was diagnosed with breast cancer. ‘I was ill all of last year,’ says the 45-year-old today. ‘Not until this year has working away from home really fitted into my life. Also my kids are at

an age now where it’s possible to go away for a while.’ She’s too smart to resort to glib generalisations about how going through chemotherapy and surgery changed her, but change her it did. And she accepts it may have played a part in her decision to up sticks for half a year and join the National Theatre of Scotland to play the Danish Queen Margaret in the final piece of Rona Munro’s trilogy of The James Plays. That’s in addition to filming in Iceland with Tam Dean Burn, Michael Gambon and Christopher Eccleston in Fortitude, a 12-part TV series written by Edinburgh’s Simon Donald in which she plays the governor of an Arctic town. ‘It definitely changed the perspective radically, but I haven’t really formulated what it has changed,’ she says. ‘I could say that it makes me appreciate life more but it also does the opposite. It’s so complex that it gets banal if you try to squeeze it into a sentence. But maybe it is one of the reasons why I took this role. If I’d been offered it a few years back, maybe I would have wanted it just as much but the fear of doing it might have overshadowed the desire to do it. I remember saying to somebody, “I can’t lie on my death bed (whenever that is) not having done this just because I was frightened”. So, yes, I guess it has changed something.’ The inaugural production of NTS artistic director Laurie Sansom and the centrepiece of the Edinburgh International Festival’s drama programme, the three plays concern a little-known period of Scottish history. In the first, Munro tells the story of James I who became king at the age of 12 in 1406, but was held by the English for list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 95

INTERNATIONAL SOFIE GRĂ&#x2026;BĂ&#x2DC;L

18 years before he could do anything about it. The second is about James II who inherited the crown as a boy and had to wait until adulthood before he could take control of Scotlandâ&#x20AC;&#x2122;s feuding families. The series concludes with James III who married Queen Margaret, the power behind the throne, in 1469 at a time of political instability. If youâ&#x20AC;&#x2122;re feeling embarrassed about your ignorance of medieval history, youâ&#x20AC;&#x2122;re not alone: GrĂĽbĂ¸l says Queen Margaret is â&#x20AC;&#x2DC;completely unknownâ&#x20AC;&#x2122; in Denmark too. What grabbed her instead was the richness of the writing. â&#x20AC;&#x2DC;It has this substance of historical truth, but at the same time, itâ&#x20AC;&#x2122;s not dusty. Sometimes when we tell stories that take place in historic times, you feel like youâ&#x20AC;&#x2122;re in a history class, but Rona goes the opposite way with it. She lets the period inspire her and then she plays with it. Itâ&#x20AC;&#x2122;s really modern, funny and clever.â&#x20AC;&#x2122; In conversation, GrĂĽbĂ¸l is sharp, open and engaged, talking with passion and intelligence without taking herself too seriously. Although she speaks perfect English, she says itâ&#x20AC;&#x2122;s still tricky to convey her sense of humour (â&#x20AC;&#x2DC;itâ&#x20AC;&#x2122;s hard to do jokes in other languagesâ&#x20AC;&#x2122;). In other words, GrĂĽbĂ¸l is the opposite of Sarah Lund, the unemotional loner she regarded as a female Clint Eastwood. The dryness of that character came as a surprise to Danish viewers and is not typical of her work. So what should we expect from her as Queen Margaret? Will she be wearing a woolly jumper? â&#x20AC;&#x2DC;No!â&#x20AC;&#x2122; she laughs. â&#x20AC;&#x2DC;Itâ&#x20AC;&#x2122;s very different. Even though Sarah Lund is a character that means a lot to me, itâ&#x20AC;&#x2122;s only one of many characters Iâ&#x20AC;&#x2122;ve played. Thatâ&#x20AC;&#x2122;s a benefit of coming to another country: if you were a piece of paper, thereâ&#x20AC;&#x2122;s not a lot written on you. In my mind, I donâ&#x20AC;&#x2122;t think people expect anything.â&#x20AC;&#x2122; Those of us addicted to the Scandi-dramas that followed in The Killingâ&#x20AC;&#x2122;s wake â&#x20AC;&#x201C; from the political machinations of Borgen to the cross-border policing of The Bridge â&#x20AC;&#x201C; are used to spotting familiar faces popping

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up as different characters. â&#x20AC;&#x2DC;Has Denmark run out of TV actors?â&#x20AC;&#x2122; fretted one newspaper blog, providing a Venn diagram to illustrate the looming national crisis. If the threat was exaggerated, GrĂĽbĂ¸l is nonetheless thrilled to find herself an unknown quantity in a foreign country with the chance to start afresh. â&#x20AC;&#x2DC;Iâ&#x20AC;&#x2122;m 45 now and I started acting when I was 17. I suddenly started getting that feeling that I had in my very first years; the feeling of entering something completely unknown to me. In Denmark, with every project you work on you meet someone youâ&#x20AC;&#x2122;ve worked with before or you know what theyâ&#x20AC;&#x2122;ve done. Iâ&#x20AC;&#x2122;m sure this is the same in Scotland. You always have this history you carry with you. For me to go somewhere and not know anyone and for them not to know me . . . I feel like everything is opening up in a way I havenâ&#x20AC;&#x2122;t experienced since I was very young.â&#x20AC;&#x2122; She is also looking forward to getting under the skin of Scottish culture, especially as the country heads towards Septemberâ&#x20AC;&#x2122;s independence referendum. â&#x20AC;&#x2DC;One of the powerful things about exchanging stories is that on the one hand, youâ&#x20AC;&#x2122;re just entertained and on the other hand, you really get to learn about different cultures and their way of looking at life. That was my experience with The Killing: it was just a whodunit, a classical crime story that caught on, but very quickly viewers in other countries started being interested in the language, what the furniture looked like and the political system. In Denmark we have always looked out to the world, but itâ&#x20AC;&#x2122;s interesting when it goes the other way and I will definitely start looking more into Scottish culture now. Until you start expressing who you are, no one else can know who you are.â&#x20AC;&#x2122; The James Plays, Festival Theatre, Nicolson Street, 0131 473 2000, 10â&#x20AC;&#x201C;22 Aug (not 11), times vary, ÂŁ15â&#x20AC;&#x201C;ÂŁ35.

NATASCHA THIARA RYDVALD/DET KONGELIGE THEATER

Above: Sofie GrĂĽbĂ¸l as Sarah Lund in The Killing and in Fanny and Alexander at the Royal Danish Theatre

Book tickets now eif.co.uk/inala 0131 473 2000 #EdintFest

Supported by

Charity No SC004694 / Image Simon Turtle

Live music from

Ladysmith Black Mambazo Dancers from

Rambert and The Royal Ballet Sunday 10 – Tuesday 12 August 8.00pm

Tickets from only £10

World premiere of a Zulu Ballet An explosion of music, song and dance

‘joyous, funny, sexy’

Sweet Mambo Tanztheater Wuppertal Pina Bausch Flirt, ﬁght, seduce and abandon – love in many forms…

Charity No SC004694 / Photo Ursula Kaufmann

SUNDAY HERALD ON PINA BAUSCH, FESTIVAL 2010

Book tickets now eif.co.uk/sweetmambo 0131 473 2000

Saturday 23 – Monday 25 August 7.30pm

Tickets from only £10

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INTERNATIONAL AKRAM KHAN

â&#x20AC;&#x2DC;I JUST SEE MY OWN MOTHER WHEN Iâ&#x20AC;&#x2122;M PERFORMINGâ&#x20AC;&#x2DC;

98 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

AKRAM KHAN INTERNATIONAL

FAMILY GUY Based on an epic Hindu poem, Akram Khan’s new work transported him back to memories of childhood. He tells Kelly Apter that becoming a parent has given him fresh insight into his characters and why injuries won’t be holding him back

ouring the world for two years with one of Britain’s most revered theatre directors would be a dream come true for most performers. But when you’re 13 years old and accustomed to spending time watching Michael Jackson videos to perfect your dance moves, being part of an endless replaying of ancient text can be a challenge. Almost 30 years after appearing in Peter Brook’s highly acclaimed production of The Mahabharata, Akram Khan is now one of Britain’s most dynamic and sought-after creators. But the memory of performing the Hindu poem, an epic work of almost 100,000 couplets, still looms large. ‘It’s like an imprint,’ says Khan. ‘I heard that narrative so many times, I wanted to commit suicide. But in the end, the reason I didn’t want to is because you always discover something new in it. So even though we performed it day-in day-out for two years, there are so many stories within The Mahabharata, you never feel like you know it all.’ After such an auspicious start, the career Khan carved out for himself makes perfect sense. Forced to attend dance classes by his mother from the age of seven, he became a regular sight at Bengali dance festivals in and around London, performing the Indian classical style of Kathak. Mix that with his Jackson and Fred Astaire obsession plus a university training in contemporary dance, and you’ve got a coming together of old and new which has typified Khan’s company for the past 14 years. At this year’s Edinburgh International Festival, he has come full circle, revisiting the place where his professional life began. Inspired by two characters from within the text of The Mahabharata, Khan created Gnosis in 2011, focusing on Gandhari who marries a blind king and spends the rest of her life blindfolded in order to share his journey, and their eldest son Duryodhana. Khan’s ‘fascination’ with Gandhari and her children started during his time with Brook. But the complexities of a parent / child relationship are viewed very differently by an adolescent and an adult. About to turn 40 this July, Khan’s understanding of the Hindu text has also been shaped by recent events in his own life. ‘When you’re 14 years old, what do you know about what it means to have a child or to be a parent?’ he says. ‘And it’s funny, because I made Gnosis two years ago; and then I had a child myself last year. So, my relationship with the piece has changed even more, and there are many more layers to it now.’ Gandhari is blessed (or cursed) with the ability to see into the future, so is painfully aware that a great battle will bring about the demise of her sons: all 100 of them. What impact did the birth of Khan’s daughter, with wife and company dancer Shanell Winlock, have on his approach to Gnosis? ‘You personalise it, because you can imagine what it might be like to be Gandhari and the trauma that she goes through in losing her children one by one. And she knows that she’s going to lose them because she can foresee the future. So you kind

of try to relate to that, and it’s more relatable when you have your own child.’ One child, maybe: but 100? On the surface, the mythical tale seems too fantastical to have any relevance to modern audiences, but for Khan, it’s not the message that matters, but the messenger. ‘The reason they’re myths is because they’re universal,’ he says. ‘But what’s important is not so much what you’re saying – it’s the same thing we’ve been saying since humanity began – but how you say it. And how we reveal things and express things in the theatre, because that will make it relevant or not to the audience.’ Unfortunately, the first audiences to lay eyes on Gnosis, were left wondering exactly what Khan was trying to express. Prior to its official premiere at Sadler’s Wells, the piece was performed outside of London. But an injury had forced Khan to wear a shoulder strap, slowing down the creative process and leaving the piece under-rehearsed. ‘It was a disaster,’ he recalls. ‘Because it wasn’t embodied; I was creating it in my head and it didn’t work. That was a great revelation for me. I failed big time, and it showed me that it doesn’t matter how much experience you have, you can still fail.’ Khan’s shoulder recovered and the piece was eventually finished and performed. A difficult time maybe, but nothing compared to an injury Khan had suffered the previous year. ‘My Achilles tendon ruptured at the beginning of 2012, and that was almost the end of my career. But I had an operation and then months of physio. Slowly, slowly I came back.’ Had Khan chosen ballet or straightforward contemporary instead of Kathak, his career might soon be over anyway. But as he says, age is less of an obstacle for him and 43-year-old Fang-Yi Sheu, his partner in Gnosis. ‘In Western dance we stop early, because ballet in particular is designed for a young body,’ says Khan. ‘But with flamenco and Indian dance, after the age of 40 you actually get better; they’re designed for an older body. And there’s something about Fang-Yi’s body that has a lot of richness and versatility. She can tell stories without actually saying them; it’s all in her, and you can feel it.’ Although essentially abstract in style, Gnosis requires FangYi and Khan to climb inside the hearts and minds of Gandhari and Duryodhana. In order to portray the war-hungry son, Khan plundered his own familial relations, adolescent traumas and yearnings. ‘I just see my own mother when I’m performing,’ he says. ‘And when there’s turmoil happening, I think about the turmoil I had when I was a teenager: between going to school and not wanting to go to school, and going through that phase of wanting more than you’re given. You reflect a lot upon your past and your experiences, and then put that into the situation of the character.’ Akram Khan Company: Gnosis, King’s Theatre, Leven Street, 0131 473 2000, 19–21 Aug, 8pm, £12–£32. list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 99

PANEL SHOW

INTERNATIONAL HANDSPRING PUPPETS

Yasmin Sulaiman speaks with the creative minds behind Ubu and the Truth Commission to discuss a universal play that goes way beyond its post-Apartheid origins

he trial of Oscar Pistorius may go down as one of the biggest media spectacles in South African history. But 18 years ago â&#x20AC;&#x201C; before 24-hour news and social media â&#x20AC;&#x201C; the Truth and Reconciliation Commission created its own fair share of journalistic frenzy. Chaired by Archbishop Desmond Tutu, the commission was set up as a channel for both victims and perpetrators to publicly give witness to Apartheid-era violence and itâ&#x20AC;&#x2122;s often held up as a foundational stage in the building of a democratic South Africa. That event also inspired the acclaimed play Ubu and the Truth Commission, which is being revived in 2014 to mark 20 years since the end of Apartheid. First performed in 1997 at Johannesburgâ&#x20AC;&#x2122;s world-famous Market Theatre, the playâ&#x20AC;&#x2122;s director is William Kentridge (one of South Africaâ&#x20AC;&#x2122;s most globally renowned artists) and features figures created by the Handspring Puppet Company, better known today for their work on the widely adored War Horse. â&#x20AC;&#x2DC;When we originally made the piece, opinions hadnâ&#x20AC;&#x2122;t yet been formed about the Truth Commission,â&#x20AC;&#x2122; explains Adrian Kohler, co-founder of Handspring and Ubuâ&#x20AC;&#x2122;s puppet designer. â&#x20AC;&#x2DC;But in reviving the play, we are able to compare it with what the country is like almost 20 years into democracy and how the promise of the Truth Commission has or hasnâ&#x20AC;&#x2122;t been fulfilled.â&#x20AC;&#x2122; â&#x20AC;&#x2DC;The play refers specifically to Apartheid,â&#x20AC;&#x2122; adds Kentridge, â&#x20AC;&#x2DC;but in the past 20 years, thereâ&#x20AC;&#x2122;s been no shortage of stories about corruption, of people getting away with crimes, and the kind of pact with the devil which is the basis for this performance.â&#x20AC;&#x2122; This yearâ&#x20AC;&#x2122;s production is essentially the same as the original, though two minutes have been shaved off the running time. Jane Taylorâ&#x20AC;&#x2122;s script hasnâ&#x20AC;&#x2122;t changed and even its original two actors â&#x20AC;&#x201C; Busi Zokufa and Dawid Minnaar â&#x20AC;&#x201C; are back on board as Ma and Pa Ubu. Inspired by Alfred Jarryâ&#x20AC;&#x2122;s surrealist classic Ubu Roi (which famously caused a riot after its 1896 Paris premiere), this version deliberately contrasts the grotesque against Kentridgeâ&#x20AC;&#x2122;s animations, with documentary footage and verbatim testimonies from the Truth and Reconciliation Commission enacted by puppets. â&#x20AC;&#x2DC;Using the puppets as witnesses was a big debate in the beginning,â&#x20AC;&#x2122; Kohler says. â&#x20AC;&#x2DC;Because we were using verbatim transcripts from the original Truth Commission, these were very particular, very personal stories that people were recounting. To put the verbatim testimonies of the Truth Commission into the mouths of puppets seemed to be a possible way to retain the original storyâ&#x20AC;&#x2122;s dignity. The puppet is neutral; itâ&#x20AC;&#x2122;s not somebody pretending to be another character or a real person. Itâ&#x20AC;&#x2122;s built only to be that witness.â&#x20AC;&#x2122; The play has toured the world but its references remain particularly South African. â&#x20AC;&#x2DC;We made it very specifically local, so there are a number of images that will only make sense to a South African,â&#x20AC;&#x2122; says Kentridge. â&#x20AC;&#x2DC;You see

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a pigâ&#x20AC;&#x2122;s head, for example, with a pair of earphones on. Then thereâ&#x20AC;&#x2122;s an explosion and you see the damaged pigâ&#x20AC;&#x2122;s head. If youâ&#x20AC;&#x2122;re outside South Africa, itâ&#x20AC;&#x2122;s a generalised image of violence. But in South Africa, youâ&#x20AC;&#x2122;ll know of the specific event in which the security police sent a letter bomb to an activist in the form of headphones so that when he switched them on, it would blow his head off. But they tested it first on a pigâ&#x20AC;&#x2122;s head, with before-andafter photographs of the test presented at the Truth and Reconciliation Commission. In that sense, most of the material in the play is direct reportage.â&#x20AC;&#x2122; But despite this specificity, Ubu and the Truth Commission canâ&#x20AC;&#x2122;t escape its universal appeal. â&#x20AC;&#x2DC;When we did the production initially,â&#x20AC;&#x2122; explains Kentridge, â&#x20AC;&#x2DC;people said to us, â&#x20AC;&#x153;this will make sense in South Africa but it wonâ&#x20AC;&#x2122;t make any sense in Europeâ&#x20AC;?. But when we took the production to Weimar [in former East Germany], they told us this piece is perfect because all the evidence in the Stasi files was just coming out but that it wouldnâ&#x20AC;&#x2122;t work elsewhere in Europe. Then we took it to Switzerland where we were told, â&#x20AC;&#x153;you know we have all the stories about Nazi gold being held in Swiss banks and those facts are just starting to come outâ&#x20AC;?. They also said it wouldnâ&#x20AC;&#x2122;t work anywhere else. And then we went to France and it was the same thing, regarding questions of collaboration and Franceâ&#x20AC;&#x2122;s hidden history coming out into the open. So we discovered that many different countries had similar questions and were taking account of the most despicable parts of their history, acknowledging them and trying to come to terms with them.â&#x20AC;&#x2122; Whether Ubu and the Truth Commission still resonates will be clear when the revival is performed in South Africa and at the EIF. Certainly, both Kentridge and Kohler seem very pleased to be working together again: Kentridge calls War Horse â&#x20AC;&#x2DC;one of the great milestones of puppetryâ&#x20AC;&#x2122;, while Kohler lauds Kentridgeâ&#x20AC;&#x2122;s brilliant animations and direction on Ubu. Like Kentridge, Kohler is keenly aware of the playâ&#x20AC;&#x2122;s global allure. â&#x20AC;&#x2DC;The further we get from the original South African Truth and Reconciliation Commission, the more we understand that many countries have gone through the kind of difficulties that South Africa has experienced. In South America and in Eastern Europe, people have come up to us and said, â&#x20AC;&#x153;I canâ&#x20AC;&#x2122;t believe that this piece isnâ&#x20AC;&#x2122;t about our countryâ&#x20AC;?. And so the production represents the opportunity for witnesses to speak out against atrocities committed by a government that is supposed to protect them. I think thatâ&#x20AC;&#x2122;s what resonates down the years: it seems less specifically about South Africa now, and more about the way innocent people are caught up in the machinations of the state.â&#x20AC;&#x2122; Ubu and the Truth Commission, Lyceum Theatre, Grindlay Street, 0131 473 2000, 28â&#x20AC;&#x201C;30 Aug, 8pm; 30 Aug, 2.30pm, ÂŁ10â&#x20AC;&#x201C;ÂŁ32.

HANDSPRING PUPPETS INTERNATIONAL

‘IT REPRESENTS THE OPPORTUNITY FOR WITNESSES TO SPEAK OUT AGAINST ATROCITIES’

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INTERNATIONAL SOPRANOS

MEET THE SOPRANOS In August, Edinburgh attracts the cream from every artistic endeavour. Kate Molleson proﬁles ﬁve EIF singers who will be hitting some glorious high notes

SUSAN BULLOCK

CLAIRE BOOTH

It takes a rare kind of mental and physical stamina to tour the globe singing Ring Cycle after Ring Cycle. Maybe it’s pure survival tactics that make Wagnerians some of the most down-to-earth singers in the business and Susan Bullock is no exception. Hands-down one of the world’s great dramatic sopranos, she’s a cheerful, plain-speaking northerner (born and raised in a Cheshire council house) who listens to jazz and Motown on her nights off and describes herself as an actress who sings rather than the reverse. But don’t for a minute underestimate the potency of her voice. Bullock makes a tremendous sound: huge enough for Wagner and Strauss, with plenty musical pathos for Britten and Janácek. And she has no airs or graces. She’ll happily tell you that she began singing by accident and only really emerged onto the solo stage in her mid-40s. In Edinburgh she appears alongside emerging talent from the BrittenPears Young Artist Programme in Benjamin Britten’s late pacifist opera Owen Wingrave. Q King’s Theatre, Leven Street, 0131 473 2000, 15, 17 Aug, 7.30pm, £15–£35.

Long-time champion of contemporary music – in particular the works of Oliver Knussen – English soprano Claire Booth is a versatile, fearless and brilliantly unfussy singer. She is captivating in Poulenc’s solo telephone opera La voix humaine, seductive and quixotic in the title role of Janácek’s The Cunning Little Vixen. Her direct, agile voice can wrap itself around Handel or Kurtág, Mozart, Rossini or Stravinsky, always with a knack of stripping away the guff and exposing the emotional heart of the music. Two years ago at the EIF she picked up a Herald Angel award for her radiant portrayal of the title role in Craig Armstrong’s The Lady from the Sea. This year she opens the International Festival with the Royal Scottish National Orchestra, singing Le Martyre de Saint Sébastien, a mystery play by Gabriele d’Annunzio with ecstatic, sumptuous music from Claude Debussy. With her friend Olly Knussen wearing his conducting hat on the podium beside her, Booth should be in her element. Q Usher Hall, Lothian Road, 0131 473 2000, 8 Aug, 7.30pm, £12–£46.

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SOPRANOS INTERNATIONAL

ERIN WALL

ANNA PROHASKA

UTE LEMPER

Canada’s top soprano is a lovably sassy gal: magnetic stage presence, sumptuous tone, flawless technique and that ability to hold a concert hall rapt for a moment or several; plus she blogs about how to manage a mean balancing act between ‘momma / singer / wife’. She’s on the road the whole time with press photos showing her decked out in evening gown and running shoes. Basically, she’s good fun. Born to American parents in Calgary, Alberta, she studied piano at the Vancouver Academy of Music and made her professional debut in 2001 as an apprentice at Chicago’s Lyric Opera. She’s in-demand at pretty much all the world’s classiest opera houses: the Metropolitan Opera in New York, La Scala in Milan, the Vienna Staatskapelle. She sings Mozart gorgeously, Britten poignantly, Mahler and Strauss powerfully. And it’s Strauss that she brings to Edinburgh including the sublime ‘Four Last Songs’, backed by conductor Sir Andrew Davis and the Melbourne Symphony Orchestra. Q Usher Hall, Lothian Road, 0131 473 2000, 21 Aug, 8pm, £12–£44.

She might not be a household name in the UK (yet) but that’s because Anna Prohaska has been busy doing things properly. The hotly tipped Austrian soprano is a product of the central European repertory system, in which budding young singers join the ensemble of an opera house and are put through their paces learning key operatic roles thick and fast. Prohaska is currently ensconced at the Deutsche Staatsoper Berlin where she’s been impressing German audiences in roles such as Mozart’s Susanna, Strauss’ Sophie, Stravinsky’s Anne Trulove and Handel’s Poppea. Judging by the conductors she’s worked with (Simon Rattle, Daniel Barenboim, Pierre Boulez and Mariss Jansons for four) her star is thoroughly on the ascendant. That said, she hasn’t exactly fallen under the radar in the UK either, what with an exclusive record contract with Deutsche Grammophon and recitals at the Wigmore Hall that led one esteemed British critic to remark simply: ‘my goodness, wasn’t it gorgeous?’ Q Queen’s Hall, Clerk Street, 0131 473 2000, 18 Aug, 11am, £8.50–£30.

Alright, she’s not strictly a soprano, but Ute Lemper is just too good not to mention. There is no finer interpreter of the Weimar Republic’s music than this sultry, seductive German chanteuse. Lemper has been singing the songs of Kurt Weill and his contemporary Hanns Eisler since she was a teenager, and today her husky, coolly serrated, smoky-rich delivery is unmatchable. She’s also gorgeous in French chanson – try her recordings of Jacques Brel, Boris Vian or Edith Piaf for size – and has inspired the likes of Nick Cave, Elvis Costello and Tom Waits to pen songs for her. As if that wasn’t enough, she also composes her own stuff. In Edinburgh she sings Weimar songs with the Scottish Chamber Orchestra, music that she considers it ‘her mission’ to perform. ‘Honouring these composers – most of whom were Jewish – has been an important dialogue with the history of my country,’ she says. ‘I guess I’ve become an ambassador for this kind of dialogue.’ Q Usher Hall, Lothian Road, 0131 473 2000, 15 Aug, 7.30pm, £12–£44.

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INTERNATIONAL BAL MODERNE

ESCAPE TO VICTORY

Bal Moderne has helped untrained dancers move around for over 20 years. Lucy Ribchester hears how this project convinced renowned choreographers to get with the programme

he words ‘audience’ and ‘participation’ can still strike terror into the spines of punters and critics alike. If you add the word ‘dance’ into the equation, then that fear is simply heightened. But in recent years, dance shows that blur and break the boundaries between spectator and performer have grown in popularity. In 2011, the 1930s-themed Dance Marathon had Fringe-goers sweating into their numbered bibs, and last year’s International Festival Dance Odysseys programme included Scottish Dance Theatre’s interactive neon-lit SisGo. Emboldened by this enthusiasm for getting stuck in, the EIF has gone one step further to host Bal Moderne, a project which relies entirely on audiences learning and executing a series of short choreographies. A risky formula, perhaps, but clearly one that works given that it’s been charming participants across Europe since 1993. The idea was originally conceived in Paris by Michel Reilhac, and while it has gone through various incarnations over the years, the classic format remains the same. Participants are taught a three to four-minute choreography for around 45 minutes, before dancing the piece together as an ensemble. Usually a couple of choreographies will be taught over the course of one ‘Bal’. Sound like a tricky feat? Artistic director Oonagh Duckworth, who took over exclusive running of Bal Moderne in 2000, insists otherwise. ‘So far the project always seems to bring out the best in people,’ she says. ‘First, audiences have to participate, not watch; then they have the impression that they are doing something new, and surprising themselves by their own ability whilst having a lot of fun. And of course we hope that the experience will give them a particular perspective of the International Festival’s theme.’

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This year that theme is ‘Escaping War’, with both a partner-dance and a collective choreography planned. ‘It was at the suggestion of the EIF that the wartime connection came about,’ says Duckworth. ‘Dancing and balls provided a much-needed release from the tension of war, and the dances that emerged in that period were astoundingly daring and innovative.’ The 1940s French Vichy government considered the form to be so subversive that popular dances were banned. It didn’t work, however, and clandestine balls soon began appearing all over Paris. ‘We won’t be replicating them,’ says Duckworth, ‘but evoking their moods.’ In the past, she has admitted to finding choreographers cautious about taking part, believing that it might be degrading to see their work danced by non-trained performers. But those fears were always put to rest when they saw 300 people dancing their moves. It’s certainly a sight that has brought choreographer Laurence Giraud, who has created work for the company in the past, back for ‘Escaping War’. Giraud believes it’s the method of teaching the dances that stops them from being either overly complicated or patronisingly simple. ‘We deliberately set up a challenge for the audience, who generally surprise themselves by doing the proposed dance. Certain dances create pictures in the space, which makes them beautiful to look at. Learning them requires concentration and effort, but we’re mindful that everything should always take place with good humour and pleasure.’ And that seems about as good a reason as any to get your dancing shoes on. Bal Moderne, The Hub, Castlehill, 0131 473 2000, 15–17 Aug, 2.30pm, £12.

HIGHLIGHTS INTERNATIONAL

OTHER HIGHLIGHTS

Ganesh Versus the Third Reich

A fittingly dramatic programme marks the departure of Jonathan Mills as EIF director with a war requeim, noir theatre and human zoos providing a perfect send-off CZECH PHILHARMONIC

Two concerts from the orchestra conducted by Jiri Belohlavek. The first features Nicola Benedetti as they tackle Janácek, Korngold and Martinu together, while the second has mezzo soprano Bernarda Fink singing the powerful ‘Biblical Songs’ from Dvorák. Usher Hall, Lothian Road, 22 & 23 Aug, 8pm, £12–£44.

WONGE BERGMANN

GANESH VERSUS THE THIRD REICH A story about reclamation plus a play within a play, it begins with the elephant-headed god Ganesh travelling through Nazi Germany to win back an ancient Hindu symbol for his people. Back to Back Theatre is a group of actors who, ‘in a culture obsessed with perfection and surgically enhanced “beauty”, are the real outsiders’. Lyceum Theatre, Grindlay Street, 9, 11 & 12 Aug, 7.30pm; 10 Aug, 2.30pm, £10–£32.

INALA Featuring dancers from Rambert and the Royal Ballet with music by Ladysmith Black Mambazo, Inala (Zulu for ‘abundance of goodwill’) is sure to be a truly striking spectacle enhanced with costumes designed by expert in taxidermy, Georg MeyerWiel. Edinburgh Playhouse, Greenside Place, 10–12 Aug, 8pm, £10–£32. BRITTEN’S WAR REQUIEM Written as an anti-war statement rather than anything remotely resembling patriotic fervour, Benjamin Britten’s work was also dedicated to four of his friends, three of whom were killed in the war, the other later committed suicide. Andrew Davis conducts the Philharmonia Orchestra. Usher Hall, Lothian Road, 14 Aug, 8pm, £12–£44. HELEN LAWRENCE Influenced by post-war film noir, this multimedia thriller from Canadian Stage features a cast of misfits: we meet a bookie, a boxer and the titular blonde, who is on a mission to throw their plans into disarray. King’s Theatre, Leven Street, 24–26 Aug, 8pm; 25 Aug, 3pm, £12–£32. LES TROYENS From Virgil’s epic poem, Hector Berlioz’ opera has been compared to the Ring cycle for scale and ambition, taking as its starting point the moment after Troy’s destruction. The Trojan

Delusion of the Fury

warrior Énée sets out on a journey to found a new dynasty, but will his love for the Queen of Carthage prove stronger than his sense of duty? Festival Theatre, Nicolson Street, 28–30 Aug, 5pm, £20–£95. KRONOS QUARTET This ever-popular foursome offer up a night featuring the product of collaborations with Philip Glass and Clint Mansell. With the former, they return to his ‘String Quartet No 6’ which they premiered last year while with Mansell, they worked on the soundtrack to two Darren Aronofsky movies, The Fountain and Requiem for a Dream. Usher Hall, Lothian Road, 19 Aug, 8pm, £10–£34. DELUSION OF THE FURY Harry Partch operated on a nonmainstream level and many of the sounds he composed could only be played on instruments he built himself. See what the Ensemble musikFabrik make of the work by this ‘philosophic music-man seduced into carpentry’. King’s Theatre, Leven Street, 29 & 30 Aug, 8pm, £15–£35.

EXHIBIT B A unique and exciting event even by EIF standards, as Europe’s colonial history in Africa is explored through a mixture of performance and exhibition. Created by South African artist Brett Bailey, Exhibit B analyses the disturbing ‘human zoos’ of the late 19th century. Playfair Library Hall, South Bridge, various dates and times, £14.

VIRGIN MONEY FIREWORKS CONCERT This spectacular finale to the entire festival season is never anything less than a musical and pyrotechnical extravaganza, and this year Richard Wagner, Claude Debussy, Felix Mendelssohn, Ludwig van Beethoven and Pyotr Ilyich Tchaikovsky will be helping the month end with a bang (or two). It certainly doesn’t get more fireworky than the stirring ‘Ride of the Valkyries’ and ‘1812 Overture’, let’s be honest about it. Princes Street Gardens, 31 Aug, 9pm, £12.50–£28.50.

For tickets call 0131 473 2000.

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EDINBURGH FESTIVAL CARNIVAL The centre of Edinburgh will explode into a fiesta of colour and noise as the jazz carnival comes to town. Kicking off with a parade down the Mound, there will be non-stop performances and music for a solid three hours. The global talents on show include Italyâ&#x20AC;&#x2122;s Bandakadabra, the Bahamasâ&#x20AC;&#x2122; Junkanoo Commandos, KalentuRa of the Netherlands, Zambiaâ&#x20AC;&#x2122;s Barefeet and Fantazztico from Costa Rica. A mad outfit isnâ&#x20AC;&#x2122;t compulsory, but letâ&#x20AC;&#x2122;s face it, you wonâ&#x20AC;&#x2122;t look out of place. Q Princes Street Gardens and Grassmarket, 0131 473 2000, 20 Jul, 2pm, free.

CHRISTIAN CHRIST ISTIAN IAN SCOTT SCO COTT TT JAZZ J Z JAZ

BLOW UP

Christian Scott is a modern trumpet player with one eye on the past. As Miles Fielder discovers, this young New Orleans star doesn’t even like his own instrument

‘I

don’t know what it’s not like to be from here,’ Christian Scott says in response to a query about what it means to be a musician from New Orleans. ‘I will say that being born and raised here, I benefitted from the wisdom of a lot of really great musicians. When I was a small boy, my daddy would show me all the different kinds of music, going back to the turn of the century. So even before I played trumpet I was being acculturated into the city’s musical history.’ The 31-year-old, who has ten albums and a Grammy nomination (for his third long player, Rewind That) under his belt, is known for mixing classic jazz styles with hip hop, funk, African rhythms and alternative rock. The fact that he plays a custom-built trumpet (that resembles Dizzy Gillespie’s angular horn and is called Katrina) suggests Scott is steeped in the history of jazz. ‘I’m influenced by everything I listen to: good or bad,’ Scott says. ‘In terms of trumpeters, everyone from Louis Armstrong to Dizzy Gillespie, Clifford Brown, Fats Navarro, Booker Little, Stanley Turrentine, Kenny Dorham,

Freddie Hubbard, Lee Morgan: all those guys. But I also always really loved music from Havana and Puerto Rico. I used to really love Eddie Palmieri when I was a kid. And I also really love Thom Yorke and Radiohead. I love all kinds of stuff.’ That certainly comes across in Scott’s music. The title of ‘New New Orleans (King Adjuah Stomp)’ might sound very old school, but the track mixes soulful horn-playing with up-tempo indie rock, while album title track ‘Rewind That’ blends blaring horn blasts with discordant rock riffs. Scott’s signature blend of music styles and genres is what he has dubbed ‘stretch music’. ‘Jazz was the first fusion music. With stretch music, we’re trying to take all of those things that grew out of jazz, rhythm and blues, rock’n’roll, and trying to add the vernacular of our period. It’s a way of finding new musical landscapes based on things that were born out of jazz.’ Aside from pushing and stretching musical boundaries, the other thing that marks this young-ish player out is his customising of

instruments. In addition to Katrina, Scott has three other custom-made horns: a siren, a sirenette and a reverse flugelhorn. ‘The horn I use the most is the one that people think looks like Dizzy Gillespie’s trumpet. The angle on my horn is less abrasive [23 to Gillespie’s 45 degrees] and that allows me to get inside of the horn and change the timbre and texture of the instrument, so that I can play a high, piercing phrase. And then I can play the next phrase with a whispery, warm sound. I made these horns so that I could change the sounds and textures.’ The reasoning behind Scott’s customised instrumentation is somewhat surprising. ‘The initial idea came to me when I first started to play the trumpet because I actually wanted to play the saxophone. So, during my musical adolescence, I realised I wanted to change the trumpet in enough ways so that I could achieve the sound of a saxophone, with a trumpet. I never liked the sound of the trumpet.’ Christian Scott Quintet / Feya Faku Quintet, Queen’s Hall, Clerk Street, 0131 473 2000, 27 Jul, 8pm, £15–£20.

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JAZZ HACKNEY COLLIERY BAND

JAZZ HIGHLIGHTS

• Mandela Day Concert Abdullah Ibrahim, the pianist formerly known as Dollar Brand, leads this special show in tribute to the late Nelson Mandela. Approaching his 80th birthday, South African Ibrahim enjoyed a special link to the former ANC president, having performed at his inauguration. Also on the bill are the Mahotella Queens and Freshlyground. Festival Theatre, Nicolson Street, 0131 529 6000, 18 Jul, 8pm, £22.50–£37.50. • Mike Stern & Bill Evans Band Just prior to this date, Stern and Evans will have ticked off places such as Alicante, Amsterdam and Tokyo on their touring itinerary. The pair have acres of experience under their belts, and notably teamed up as part of the Miles Davis revival of the 1980s. Queen’s Hall, Clerk Street, 0131 668 2019, 20 Jul, 8pm, £20–£25.

BRASS TACKS The inﬂuences behind Hackney Colliery Band run long and wide. Niki Boyle chats to the group’s Steve Pretty and tunes into their special brand of cover versions

or those of you with a passing knowledge of London who may feel somewhat confused by the Hackney Colliery Band’s name, musician Steve Pretty is here to put your mind at ease. ‘There’s no colliery in Hackney,’ he confirms, describing the moniker as ‘a bit of an homage really, to the colliery band tradition in the UK. It was to tie ourselves in, I guess slightly tongue-in-cheek, with the great tradition of British brass bands. But very respectfully tongue-in-cheek, if that makes sense.’ Originally established as a musical social club for coal miners, the colliery band sub-genre’s most recognisable group to date is probably the Grimethorpe Colliery Band, whose real-life struggles were depicted in the 1996 comedy-drama Brassed Off. The HCB’s aim is to take that British brass marching band aesthetic and sprinkle in a wide variety of additional elements. ‘We were obviously quite influenced by American bands but we also had quite a strong influence from lots of other places,’ states Pretty. ‘We play a lot of Afrobeat and Balkan music, and most of us listen to contemporary rock and things like that.’ Add to that an eclectic array of cover versions – energetic renditions of Toto’s ‘Africa’, Kanye West’s ‘All of the Lights’ and a Prodigy medley are all viewable on YouTube – and the result is a broad musical palette, which harks back to the diversity of the borough the band call home. ‘We like to imagine that if there was a colliery in such a diverse part of London, we sort of see ourselves in some way musically representing that. We’re not really claiming to speak for Hackney, of course, but we would like to imagine ourselves as providing the soundtrack.’ Hackney Colliery Band, Tron Kirk, High Street, 0131 473 2000, 20 Jul, 10pm, £10. 108 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

• Zara McFarlane Hailed by The Guardian earlier this year for ‘sounding as if she’s graduated from skilful diffidence to magnetic eloquence and complete ease with an audience, almost overnight’, the young London singer already has a MOBO nomination to her name. Further official plaudits are assured. Palazzo Spiegeltent, George Square Gardens, 0131 473 2000, 21 Jul, 8.30pm, £15. • Van Morrison One of his most famous tunes was played at the end of Rik Mayall’s funeral, but don’t expect a barrel of laughs tonight as Van the Man gets deep, down and serious with an injection of rock and blues into this jazz bonanza. Festival Theatre, Nicolson Street, 0131 529 6000, 22 Jul, 7.30pm, £44.50–£87.50. • BadBadNotGood This Canadian trio are not just innovative with their name (which could also be written totally upper case or wholly lower case, depending on your mood) as they prove that’s it not just modern colliery bands who can cover Kanye West. These chaps even have a go at My Bloody Valentine and James Blake. 3 Bristo Place, 0131 473 2000, 26 Jul, 11pm, £10.

POLITICS LIST.CO.UK/FESTIVAL/POLITICS

15–17 AUG

CAFÉ BAR With room for more than 200 people, the light and airy parliament café bar is the ideal spot to continue a postevent debate. There will also be free entertainment by five-piece folk band Blueflint, BBC Radio Scotland’s Young Traditional Musician winner Robyn Stapleton, and the Gramophone Jass Band who interpret New Orleans and Chicago’s 1920s prohibition-era swing. Q Festival of Politics, Scottish Parliament, Holyrood Road, 0131 348 5000, 15–17 Aug; festivalofpolitics.org; facebook.com/scottishparliament; @FoP2014.

POLITICS I-SPY I SPY

THE SPYING

t’s been over 60 years since the first James Bond novel was published, and more than 50 since John le Carré introduced readers to George Smiley. But despite the huge shifting of the world’s political landscape, these Cold War spies still dominate our images of espionage. When you consider the mass surveillance exposed last year by NSA contractor Edward Snowden and the CIA’s irreverent inaugural tweet, it’s clear that today’s intelligence agencies are altogether different beasts. One event at this year’s Festival of Politics aims to take a closer look at intelligence agencies, the part they play in safeguarding the public from modern terrorist threats and how that role will evolve in future. It’s likely to be a heated debate, dominated by wrangles over the ethics of spying and the extent of surveillance on both sides of the Atlantic. But while the gathering of intelligence on the scale recently exposed may be a relatively recent phenomenon, the history of espionage stretches much further back into history. ‘There are Biblical references to spies,’ explains Professor Rhodri Jeffreys-Jones, emeritus professor of history at the University of Edinburgh, intelligence expert and the author of In Spies We Trust: The Story of Western Intelligence. ‘The espionage profession is referred to as the second oldest profession, after prostitution. So it does go back a long way, but institutional spies and large-scale agencies don’t really appear until the 1880s, when such agencies were formed in both America and the UK.’ 110 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

After an initial deceleration in intelligence capabilities after World War I, the American and British commitment to spying continued, and even came to be regarded as a contribution to peacekeeping efforts, until the outbreak of World War II. ‘There was a big bump in the scale of espionage in World War II,’ says Professor Jeffreys-Jones. ‘There’s a school of thought in America that the intelligence services were neglected in between the two wars, and they had to suddenly increase their capability. So, for example, they were caught napping at the time of Pearl Harbour when they should have realised what the Japanese were up to, though that’s a contentious point. But of course in this country, we bumped it up a great deal with the organisation at Bletchley Park, codebreaking and the creation of SOE (Special Operations Executive), the organisation that sent people behind enemy lines to help the French Resistance and movements all over Europe.’ When the Cold War set in – and the extent of Soviet intelligence capability became clear – western operations were expanded even further. And while the zany inventions of Ian Fleming’s Q might be exaggerated for dramatic effect, it was at this time that technological innovations became even more entrenched in the gathering of intelligence. ‘The growth of technology is a major change you see during the Cold War,’ continues Professor Jeffreys-Jones. ‘The USA and Britain found it difficult to penetrate the Iron Curtain and get our agents to the other side. Partly that was because of good security arrangements by the Soviet

I-SPY POLITICS

GAME

Union and its allies, and partly because some of our best agents were betrayed by the Cambridge spy ring. The alternative then was to engage in technological espionage, for example sending up U-2 planes which had high-resolution cameras taking photographs of what was taking place on the ground below. Then later, the spy satellite came into its own.’ After the end of the Cold War in 1989, there were calls for the CIA and MI5 to be wound down. ‘These agencies looked for new challenges,’ says Professor Jeffreys-Jones. ‘In the case of MI5, they moved into serious organised crime and took over security arrangements in Northern Ireland. They were just looking for jobs and they pushed other people aside and moved in. But when the terrorist threat, Al Qaeda and so on, came along, that was a godsend.’ And while advancing technologies remain a key weapon in the intelligence agencies’ arsenal, there are serious ethical issues surrounding espionage that need to be addressed. ‘When it comes to spies, we have a double standard,’ says the Professor. ‘I think we excuse spies partly because the distinction between them and the entertainment industry has become blurred. James Bond is an exercise in escapism. JFK fantasised too far after a dinner with Ian Fleming, and

From Tinker Tailor to 007, secret agents have had a pretty glamorous time of it in the public’s mind. But when it comes to the war on terror and the Edward Snowden affair, some grubbier aspects of espionage have been laid bare. Yasmin Sulaiman ﬁles her report tried to put Bond-type ideas into practice, such as killing Castro with an exploding cigar. There is also the earnest line of thinking: that our chaps need to be allowed to misbehave in order to keep us all safe. There were constant references in the Cold War to the turpitude of Soviet secret services, and exhortations to allow ours to behave similarly. We let the spies off the hook because we expect them to be immoral.’ Professor Jeffreys-Jones expects surveillance to persist, but also hopes more will be done to curtail it. ‘I think that simply legislating against it, or having a code of conduct for intelligence agencies, really doesn’t go far enough. There must be well-defined protection for the responsible whistleblower, for example. And each agency involved in this kind of practice needs to say publicly how they’re going to prevent the horizontal leakage of information to third parties. Looking into the future, I can see mass surveillance continuing but hopefully it’ll be brought more under control.’ I-Spy, Scottish Parliament, Holyrood Road, 0131 348 5000, 17 Aug, 6.30pm, £5 (£3.50). list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 111

REX

‘ESPIONAGE IS REFERRED TO AS THE SECOND OLDEST PROFESSION’

POLITICS GREAT TAPESTRY OF SCOTLAND

A STITCH IN TIME

One year in the making, the Great Tapestry of Scotland will be proudly housed in the Scottish Parliament until September. David Pollock learns that the project was an education for everyone

he Great Tapestry of Scotland is more than just an unparalleled work of collaborative craft. At 143 metres in length, with 160 panels depicting the history of Scotland from the formation of the rocks to the creation of Scotland’s parliament, it’s an artwork, a visual demonstration of where we came from and a story all in one. That last point is unsurprising, given that Alexander McCall Smith initiated the project, with artist Andrew Crummy creating the basic design (helped by Alistair Moffat’s research team of historians) which more than 1000 stitchers across the nation would contribute to. This summer the tapestry will return to Edinburgh once more, having made its debut in the city last year and successfully toured around Scotland in the interim. ‘It was a large-scale community arts project,’ says Crummy of the tapestry. ‘From my design, people added what they wanted to about their area or their family.’ This ethos will go one step further this summer with the inclusion of the People’s Panel, where there will be an opportunity for people visiting the exhibition to add a stitch or two to a new panel which will eventually be displayed permanently in the parliament’s collection. ‘It’s a depiction of the building itself,’ says Crummy. ‘Hopefully, a few thousand people will have contributed to it by the end.’ The artist says his expectations for the work have been exceeded in terms of how it has engaged the public, with the highest attendance at the touring exhibition being 58,000 people in Aberdeen. ‘You can see every stitch,’ he says, ‘and you can tell the commitment shown by

those involved was amazing. It tells a story, but it also demonstrates a huge amount of creativity from people all around Scotland. One of the comments you hear most is, “I didn’t learn a lot of history in school”, and I’ve heard stories of people crying by the end of it.’ Crummy says he still feels too close to the work to figure out what his emotional response is, but the process was a huge learning experience for him. ‘It changes your perspective,’ he says. ‘The big thing for me is that it shows you how connected Scotland is to the wider world. We all came here from different parts of Europe and beyond. I was the same as everyone else before this; all you get taught at school is Mary Queen of Scots, Bonnie Prince Charlie and Culloden, but there’s a whole lot more to Scotland’s history than that. Sadly, a lot off people are ignorant of many different aspects of that past.’ ‘Even on its return visit to Holyrood, this tapestry is breathtaking,’ says the Scottish Parliament’s Presiding Officer, the Rt Hon Tricia Marwick MSP (right). ‘It’s particularly fitting that this wonderful display of Scotland’s history opened on the day that we celebrated the parliament’s 15th anniversary. Each and every panel featured is testament to hours off effort that beautifully capture Scotland’s rich and diverse history, and I’m looking forward to welcoming the people of Scotland to the parliament to stitch their way into its history.’ The Great Tapestry of Scotland, Scottish Parliament, Holyrood Road, 0131 348 5000, until 13 Sep, free.

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HAVE

YOUR

SAY

AND

BIG

What next for Scotland? Itâ&#x20AC;&#x2122;s a big year as we make one of the most monumental decisions in our history. In this unique Holyrood setting, including our vibrant Festival cafĂŠ bar, all the big topics will be discussed, debated and shared. Talk about exciting times, from Friday 15 to Sunday 17 August.

Book online from 18 July: www.festivalofpolitics.org.uk facebook.com/ScottishParliament Publisher: Scottish Parliament, Edinburgh EH99 1SP

@FoP2014

TATTOO LIST.CO.UK/FESTIVAL/TATTOO

ROSS ASHTON TATTOO

TATTOO ARTIST He’s worked at World Cups and Golden Jubilees, but projection artist Ross Ashton still gets a particular thrill from the Tattoo. Claire Sawers talks to him about lighting up Edinburgh Castle and that special Scottish summer weather

n the past, Ross Ashton has projected giant fire-breathing dragons onto Edinburgh Castle, covered the ramparts in massive white cobwebs, turned the barracks into a Gotham City skyline, and beamed intricate patterns of anchors, saltires and theatre curtains onto the walls. Yet the man responsible for the state-of-the-art video projections every year at the Military Tattoo can’t work his own telly properly. ‘Weirdly, at home I’m a bit of a luddite,’ Ashton confesses. ‘We moved house not long ago and I’ve still not got round to setting up the surround sound system on the TV. I suppose it’s something to do with working with projections and images all day; you come home, and screens and cables are the last thing you want to see!’ Ashton and the team at The Projection Studio in London have been providing artwork for the Edinburgh Military Tattoo since 2005. As soon as one Tattoo is over, they begin planning the following year’s spectacle, carefully measuring the distances, mapping out exactly where the designs need to fall, and liaising with the organisers on what music will be played. ‘As buildings go, Edinburgh Castle is definitely one of the most challenging and complex ones to work with,’ says Ashton, who also beams glowing pictures onto the likes of Buckingham Palace, Durham Cathedral and York Minster when he’s not working on the Tattoo. ‘It’s incredibly dark stone, so a lot of designs wouldn’t even be legible if we tried to project them. And funnily enough, the stone has a habit of getting wet in Edinburgh,’ he deadpans. ‘It’s been known to have the occasional rain shower,’ he adds, clearly a man in the know after spending nine consecutive summers in the capital. But despite this tendency for the heavens to open in Edinburgh, the Tattoo has never once been cancelled. And it’s been running since

1950. ‘It’s really true that the show must go on,’ says Ashton. ‘Luckily it doesn’t affect the projections much, it just makes the stone even darker when it’s wet. But after ten years, I know the tricks for getting the best and brightest results. It’s the soldiers marching who I feel sorry for! Performing in wet kilts can’t be very fun.’ Soggy tartan aside, the soldiers themselves provide much of the inspiration for the artwork used. Ashton works closely with the Tattoo’s planners to find out which marching bands, troops and motorbike display teams will be taking part, and ties the designs in accordingly. ‘For example, this year a marching band from Malta is taking part. We’re working with illustration students from the City of Glasgow College, and because Malta is famous for its lace-making, they’ve created these lace patterns that we’re going to drape all over the castle. We’ll mix their designs with geometric patterns based around the Maltese Cross and the St George’s Cross.’ This year’s Tattoo will be themed around the Year of Homecoming 2014 and, according to Ashton, aims to celebrate the wide Scottish diaspora. It’s a tribute to the Scots who have settled all over the world, bearing in mind that a good portion of them may well be sitting right there in the crowd: it’s estimated 70% of the Tattoo’s audience come from outside Scotland. ‘We were thinking about these Scots who have emigrated over the past couple of centuries, and now their grandsons and granddaughters – and great grandsons and granddaughters – might well be back performing on the Esplanade, or sitting up in the audience.’ Ashton is half-Scottish himself – his mother is from Ayr – and he loves that his work provides him with an excuse to relocate to Edinburgh every summer.

‘I’ve come to know the city pretty well over the years, and it’s a great place to spend a month. I know the weather intimately too because of my work. It’s not unusual for the castle to be totally hidden by the haar; you see the fog rolling in late around midnight or 1am. Then it hangs around until about midday, but it usually burns off.’ Ashton enjoys his regular Tattoo gig, more so than some of the other very high profile jobs he’s had in the past. Creating the closing ceremony for the 2010 FIFA World Cup in Johannesburg may have been a career highlight, but the charms of the beautiful game itself were a bit lost on him. ‘I’m really not a football fan,’ he laughs. ‘I mean, they’re just the dullest games to watch!’ Looking back through his CV, he remembers the New Year’s Eve celebrations in London as ‘always being lots of good fun’, where he’s beamed 100m tall films of Boris Johnson, Ricky Gervais, Helen Mirren and others onto the side of buildings, and let them deliver their Hogmanay messages to the crowds. He’s also worked on Buckingham Palace four times now, including the Queen’s Golden Jubilee celebrations in 2002. ‘You might think I’m just saying this, but it’s a real privilege to get asked back year after year to the Tattoo,’ says Ashton. ‘Normally my projects are one-offs. I don’t get pre-show nerves anymore, but what I do get is that moment on the very first night of the Tattoo when you first hear the pipers and drummers en masse, and they flick all the lights on at once: that gets me every time. That’s a moment I really live for.’ The Royal Edinburgh Military Tattoo, Edinburgh Castle, 0131 225 1188, 1–23 Aug, Mon–Fri, 9pm, £25–£60; Sat 7.30pm, 10.30pm, £27–£62. Preview 31 Jul, 9.30pm, limited half-price tickets available from 21 Jul.

WIN TICKETS TO THE ROYAL EDINBURGH MILITARY TATTOO In August and September, Edinburgh opens its arms and doors to visitors from all around the globe. As the country’s largest company, RBS plays a major part in this and is delighted to support the unique and ever-popular Tattoo. As Scotland prepares to welcome the world as part of the exciting Year of Homecoming, hundreds of Commonwealth participants are set to play a part in this year’s 65th Royal Edinburgh Military Tattoo. Over the years, The Royal Edinburgh Military Tattoo has presented a whole host of international performers – military and civilian – from 46 countries. Dancers, steel bands, flag-wavers, drill teams, Zulus, camels, elephants, cavalry, motorcyclists, and police dogs have joined bands of all sizes and descriptions, for example.

The result is an unforgettable annual spectacle that is rightly renowned worldwide – and one which has taken its place as the very drumbeat of the Edinburgh Festival.

To be in with the chance of winning a pair of tickets for 21 Aug 2014, just log on to list.co.uk/offers and tell us: What year is The Royal Edinburgh Military Tattoo celebrating?

TERMS & CONDITIONS: Competition closes 14 Aug 2014. Prize is two pairs of tickets to The Royal Edinburgh Military Tattoo on 21 Aug 2014. There is no cash alternative. Usual List rules apply.

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OTHER FESTIVALS LIST.CO.UK/FESTIVAL

REHMAT RAYATT

TEAM PLAYER He’s worked with pop royalty and comedy gods, but Soumik Datta is able to connect with everyone at a purely human level. Ahead of his Mela appearance, he tells Malcolm Jack about the 1969 Indian ﬁlm which took him on a long journey to Leith

ollaboration is at the heart of everything for Soumik Datta. It’s there from his ambitious Edinburgh Mela-commissioned audio-visual production The King of Ghosts featuring the Scottish Chamber Orchestra, to live performances with famous names from Beyoncé to Bill Bailey, to his instrument the sarod. A lute-like stringed staple of North Indian classical music, the sarod descended from the rubab, a war instrument originating in Central Asia and Afghanistan which, after emigrating south with Persian players, required modification in order to suit the fast glides and virtuosic passages of Indian music. ‘Right from the beginning the instrument was a collaborator,’ notes Datta. ‘It adapted and became something else. That’s where I get the inspiration from; the instrument is inherently a collaborator, and I’m trying to extend that on my side.’ A Bengali Indian who moved to England aged ten, Datta graduated with a masters from Trinity College in London, and has gone on to work with the award-winning likes of Nitin Sawhney, Akram Khan and Talvin Singh. His guiding impulse in every project is building cultural links between his eastern heritage and adopted western home, in order to

explore this great defining ‘dichotomy’ in his life. When it premieres at the Mela, before touring Scotland, The King of Ghosts will be the purest manifestation of Datta’s artistic philosophy yet, not to mention the culmination of boyhood daydreams. Inspired by and, indeed, substantially incorporating Oscar-winning director Satyajit Ray’s Gupi Gayen, Bagha Bayen, a classic 1969 Indian art house film, The King of Ghosts celebrates Datta’s first great artistic passion. ‘My mother Sangeeta is a filmmaker, so from a very young age, my access into the art world was through movies not music. I always remember my home being full of lighting stands and camera tripods. My mother introduced me to a lot of amazing cinema; not just Indian cinema, but world cinema, Japanese cinema, French cinema. And at an early age I saw Gupi Gayen, Bagha Bayen. Satyajit Ray was a visionary.’ It is, as Datta gently puts it, ‘quite an unusual film’; a children’s story at heart, but a resplendently weird one, all about some young musicians who are so lacking in talent that they get kicked out of their respective villages to live in the forest. There, the benevolent King of Ghosts takes pity and grants them three wishes. Freshly blessed with a musicality so list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 117

OTHER FESTIVALS SOUMIK DATTA

great they can stupefy audiences into stillness and submission with their playing, the young heroes proceed on a journey through the universe, even stopping wars by singing. On one level it’s a children’s story about hope, but the film’s deeper message – which Datta only spotted upon coming back to it as an adult – reveals not only his enduring interest in the film, but also The King of Ghosts’ appeal to Mela director Chris Purnell. ‘There is this other layer to it,’ Datta explains, ‘bringing in a post-colonial theme about India, and how the country had recently gained independence, but through bloody means. It says: “we have at heart in India this incredible richness of music and art, but we did not use that in the right way to attain this freedom”. I feel that is very relevant to our times, because we’re constantly in this struggle: we think we’re independent and free, but we’re not; we’re constantly resorting to war, and politics is getting dirtier.’ In there, one may deduce, lies the Mela’s subtle line on the Scottish independence debate, and culture’s capacity to transcend politics. ‘I wouldn’t want to put words in Chris’ mouth,’ says Datta. ‘But for me, I find it very difficult to live in a time when a political discussion is happening without engaging with it on some level.’ The King of Ghosts will see a special trimmed-down one-hour edit of Gupi Gayen, Bagha Bayen screened along to a brand new live score composed by Datta, with the SCO effectively representing the world those characters inhabit, while Datta and his sarod are the voice of Gupi. When it goes out on tour to Glasgow, Perth and Inverness in September, Datta is hopeful that its message of peace, unity and multiculturalism will open a new audience’s eyes and ears to

Indian culture. ‘Because the film and the music have these universal messages, it shouldn’t matter where we take it, as long as we connect with people on a human level.’ Speaking of connecting with people, how on earth did Datta wind up becoming the unlikely missing link between Beyoncé and Bill Bailey? The former he met as a multi-award winning music student, when Jay-Z came to London and requested to work with some local musicians. ‘During rehearsals, Beyoncé was visiting and she heard me playing and loved it. She said she wanted do a piece.’ Said piece was performed live at the Royal Albert Hall, but sadly never captured for posterity. ‘She’s just this incredible singer,’ Datta recalls. ‘It was just gorgeous: it would bring a tear to anyone’s eye.’ Fortunately, his collaboration with Bailey – a duelling banjos-style battle with the Klingon-speaking, part-troll comedian / classicallytrained musician – is captured on the live DVD Tinselworm, and pricked peoples’ eyes too, albeit with a different emotion. ‘He’s such a genuinely funny person that when he speaks to you he just makes you laugh,’ says Datta of Bailey. ‘He’s such an incredible and humble human being. In Britain he’s a massive name and nothing smaller than what Beyoncé is to certain crowds. But you’d never feel it; with both of them really. When you’re in the rehearsal room, there’s such a human connection.’ The King of Ghosts, Leith Links, 0131 661 7100, 29 Aug, 7.30pm, £4 entry (free for under 12s).

ALSO ON

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NIALL WALKER

This year’s Mela provides nothing less than a music and dance extravaganza over at Leith Links. There’s reggae from UK stalwarts the Soothsayers, ragga from Apache ‘Boom Shack-a-Lack’ Indian (pictured) and a Rajasthan ten-piece, the Dhoad Gypsies, whose stamina on stage is believed to be breathtaking. Italian electronica / dub / reggae artist Gaudi teams up with Scottish beatboxer Danny Ladwa and there will be other live sounds from Cuba, Ukraine, Pakistan and Ghana. Representing the dance world is a hard-hitting hip hop spectacular from the cutting edge Avant Garde Dance with a triple-bill which is ‘weaved together like your favourite concept album’. And ‘From Here to There’ is a special Mela commission devised by Edinburghbased choreographer and dancer Merav Israel using contemporary and classical South Asian Dance forms. Q Edinburgh Mela, Leith Links, 0131 661 7100, 29–31 Aug, £4 entry (free for under 12s).

FRINGE BY THE SEA OTHER FESTIVALS

COAST HUNT

Henry Northmore samples the delights further out of town with Fringe by the Sea

Rachel Sermanni

The population of Edinburgh swells to more than 1 million during August, over double the number that usually resides in the Scottish capital. So, even when you are in full festival mode, you might want to take a break from the madding crowd and take the opportunity to visit some of East Lothian’s picturesque seaside towns. Luckily, Fringe by the Sea ensures that your coastal sojourn isn’t bereft of culture as they take over North Berwick (a mere 30-minute train journey from Edinburgh) for a week of music, theatre and comedy. Their music programme is particularly strong this year. Jazz and blues

BEST OF THE REST OF THE FESTS Clothes and design fiends will have plenty to get their teeth into with the Edinburgh International Fashion Festival (18–25 Jul, edinburgh internationalfashionfestival. com), while similarly tasty goings-on are ensured at the Foodies Festival (8–10 Aug, foodiesfestival.com). Edinburgh Book Fringe (8–23 Aug, word-power.co.uk) features events about war, gangsters and democracy, while Forest Fringe (6–17 Aug, forestfringe. co.uk) houses ‘internet trolls, fathers and sons, a piñata, a real life wedding, the Hungarian revolution and a house falling into the sea’. Which is a lot.

aficionados will find plenty to love with American guitarist / singer-songwriter Eric Bibb (5 Aug), Fife’s R&B stalwarts Lights Out by Nine (5 Aug), hot soul from Geno Washington & the Ram Jam Band (8 Aug), big band swing from Fat Sam’s Band (9 Aug) and 60s beat pop combo the Manfreds (10 Aug). Folk fans are in luck as there’s Gaelic song from Julie Fowlis (4 Aug), contemporary folk from Rachel Sermanni (7 Aug), sibling duo the Wrigley Sisters (8 Aug) and Scots favourites Phil Cunningham & Aly Bain (9 Aug). That’s just the tip of the multi-genre iceberg which also boasts

ska from Bombskare (8 Aug), country at Session Americana (10 Aug) and opera at the Leuchie House Fundraiser (6 Aug) featuring pianist Matthew Brown and singers Kirsten Cairns, Sarah Power and Andrew McTaggart. With kids events, author talks, walks, tours, comedy (including Phill Jupitus on 9 Aug) and a gorgeous sandy beach, Fringe by the Sea offers the perfect excuse to escape the hustle and bustle of the city centre and explore the surrounding area. Q Fringe by the Sea, various venues, North Berwick, 07721 910982, 4–10 Aug.

SCREEN SHOTS

Brian Donaldson picks out some documentary highlights from the Just programme The event formerly known as the Festival of Spirituality and Peace goes from strength to strength and with talks, exhibitions, music and workshops around various venues, Just will be equally as prominent and hectic as any of the otherr festivals around town. The film programme, in particular, looks as though it will have a significant impact. Their Slavery on Film strand features three documentaries. Tango Negro looks at the dance culture which is traditionally connected to Argentina, but which actually has its roots in Africa and the slaves who were taken to South America. They Are We is the story of how a family which was separated by the transatlantic slave trade for almost two centuries was finally brought together while The Price of Memory looks at the visible ruins left by slavery in Jamaica and also explores the British royal family’s past as investors in the trade. Plus, there’s Songs from Soweto: An A Cappella Journey which depicts the lives of five musicians from the famous township, while Beyond the Veil and Amina Muslim Women’s Resource Centre present short films on women’s rights. Q Just, various venues, 0800 411 8881, 1–25 Aug.

Tango Negro

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“Its magnificent setting is unbeatable” – The Times

Champagne Café Bar

at The Signet Library

Fabulous food, ﬁve star ﬁzz. The iconic Pommery Champagne Café Bar returns. Fresh food, our fantastic Pommery Champagnes, Edinburgh Festival foodie antics, all under the iconic roof of the Signet Library. What’s not to love? This year, in addition to our marvellous menu and lovely fizz, we have an extended programme of fantastic Food & Drink Festival events – from artisan beers with a burger to whisky cocktails and handcrafted chocolates. Not to mention our infamous Champagne Afternoon Tea… Don’t miss the most exclusive, the always delicious, and the downright fizziest, Festival experience of the year. To book tickets to our Food & Drink events please visit edfringe.com or see the events section in this year’s Fringe programme.

Chocolate, Whiskies & Cocktails £25

Single Malt Sundays £40

The Signet Library, Parliament Square, Edinburgh Open daily from 1st – 25th August from noon – late. Located 300 metres from Edinburgh Castle.

Reservations: 0131 226 1064 www.thesignetlibrary.co.uk

Four Beers & a Burger Meet the Brewer £25

Champagne Tutored Tasting £50

Tattoo Ticket & Dinner Packages. 7 Premium Nights only!

£75

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CITY GUIDE WHERE TO EAT, DRINK, SHOP AND PARTY IN THE CAPITAL LIST.CO.UK/FESTIVAL/CITYGUIDE

WELCOME TO EDINBURGH This is a city of contrasts. From pamphlet-thrusting street performers and crowded, stuffy Fringe venues to expansive grassy parks and quiet, secluded pubs, Edinburgh has something for everyone. It packs a mighty punch for a city so compact you can walk across it in little over an hour. Over the next 30 pages you’ll find all you need to know in order to get the most of the city this festival season. This guide introduces five of Edinburgh’s distinctive boroughs: the Old Town, the New Town & Stockbridge, Southside, the West End and Leith & Broughton Street. In each section you’ll find useful maps and details of where to shop, eat and drink, whether you’re looking for an unusual gift to take home, a caffeine refuel or a memorable dinner featuring Scotland’s finest produce. At the back there’s a run-down of Edinburgh’s lively clubbing and LGBT scenes. Scattered throughout are suggestions for essential sights to see, off-the-beaten-track wonders, how to get from A to B and plenty more ideas for making the most of your time in Edinburgh, described by novelist Alexander McCall Smith as ‘a city so beautiful it breaks the heart again and again’.

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EVERY MONDAY - MONDAY MUSIC CLUB 3rd - Boda Open Show 6TH - FLASH COMEDY 21ST - THE FLINT, ORIGINAL LIVE MUSIC SHOWCASE 8TH - NEW DRINK OF THE WEEK 9TH - SAUSAGE SIZZLE AND BEER 13TH - PUB QUIZ 15TH - LIVE MUSIC & NEW DRINK OF THE WEEK 20TH - FLASH COMEDY 22ND - BODA/VICTORIA COLLABORATION -NEW DRINK OF THE WEEK 23RD BODA/VICTORIA COLLABORATION -EARLY EVENING LIVE MUSIC & SAUSAGE SIZZLE AND BEER 27TH QUIZ 31ST SHAZ AND JULES

SOFIS BAR EVERY MONDAY - MATCHBOX CINEMA CLUB RESIDENCY EVERY TUESDAY - TALKING HEIDS - LIVE SPOKEN WORD AND POETRY EVERY WEDNESDAY - LOUNGE ACT. EDINBURGH’S SMALLEST VENUE WILL BRING YOU A DIFFERENT ACT EACH WEEK. SEE FACEBOOK FOR MORE DETAILS. EVERY SUNDAY - SUNDOWN AT SOFIS, OPEN MIC & LIVE MUSIC FROM EDINBURGH'S BEST. 2ND - THE DUGS N’ PUBS MYSTERY MUSIC TOUR 7TH - VINYL PARTY with VINYL JUSTICE JEWELLERY STALL 8TH- EXHIBIT LAUNCH 9TH - OPEN TURNTABLES 16TH - ROALD DAHL PARTY 21ST - CLOTHES SWAP 22ND & 29TH - BLUEGRASS AFTERNOON 30TH - APOCALYPSE NOW PARTY

VICTORIAS 1ST - RETROGRADE 2ND - THE DUGS N’ PUBS MYSTERY MUSIC TOUR 4TH, 5TH, 6TH, 8TH, 9TH &10TH - OUTLANDIA - PERFORMANCE ART - LIVE RADIO 7TH - OPEN MIC/ OUTLANDIA - PERFORMANCE ART - LIVE RADIO 13TH - ITS ALL ABOUT SRAIGHT LINES - EXHIBITION BY ROSS F MACLEAN 14TH - ELECTRONICA MINI FESTIVAL: 'CATS WHISKER' - LIVE SHOWCASE OF ELECTRONICA BANDS F/ ECA 15TH -PETIT PERDU/ NOFI DISCO 16TH - UZIKI MUZIKI 17TH - PETIT PERDU 22ND - VICTORIA/ BODA COLLABORATION EVENTS THROUGHOUT DAY AND NIGHT 23RD - VICTORIA/ BODA COLLABORATION - LIVE DRAWING ON STAGE- ARTIST MIMI ESPIA- SILVIE CRISTOFOLI 28TH - OPEN MIC 30TH - INDIAN DANCERS

JOSEPH PEARCES 1ST - DJ ASTROBOY 2ND - FUNKY JAZZ BEATS FROM 9PM & THE DUGS N’ PUBS MYSTERY MUSIC TOUR 3RD, 17TH & 24TH - JOSEPH PEARCE'S BAR(BER SHOP) 1920'S SPEAEASY LIVE 20'S SWING JAZZ EVERY WEDNESDAY - DOWN THE DIRT ROAD BLUES 8PM WITH JACK & JON (THE HOLY GHOSTS) 8TH - CLUB HIGH VOLTAGE WITH DJ VIC GALLOWAY 8PM 10TH - BECC SANDERSON'S JAZZ & BLUES TRIO 15TH - DJ ASTROBOY 18TH, 19TH, 25TH & 26TH - CRAYFISH PARTY 21ST - CLUB HIGH VOLTAGE WITH VIC GALLOWAY 30TH - FUNKY JAZZ BEATS 9PM 31ST - DJ ASTROBOY

HEMMA 2ND - THE DUGS N’ PUBS MYSTERY MUSIC TOUR 15TH - GREEK BBQ 31ST - BEER PONG ANIMAL HOUSE TOGA PARTY

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Soﬁs Bar - 63-65 Henderson Street Boda Bar - 229 Leith Walk Hemma - 75 Holyrood Road Jospeh Pearces - 23 Elm Row Victorias - 265 Leith Walk

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CITY GUIDE OLD TOWN

SHOPPING A Ha Ha Ha

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99 West Bow, EH1 2JP, novelty.org, 0131 220 5252

Avalanche

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Analogue 39 Candlemaker Row, EH1 2QB, analoguebooks. co.uk, 0131 220 0601

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5 Grassmarket, EH1 2HY, avalancherecords. co.uk, 0131 659 7708

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The Black Box Boutique 98 West Bow, Grassmarket, EH1 2HH, blackboxboutique.co.uk, 0131 225 5006

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The Black Mausoleum

Armchair Books

19 Candlemaker Row, EH1 2QG, 0131 225 9044

72â&#x20AC;&#x201C;74 West Port, EH1 2LE, armchairbooks.co.uk, 0131 229 5927

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Armstrongs 83 Grassmarket, EH1 2HJ, armstrongsvintage. co.uk, 0131 220 5557

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Gran CaffĂŠ

Coda Music 12 Bank Street, The Mound, EH1 2LN, codamusic. co.uk, 0131 622 7246

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Cookie 29 Cockburn Street, EH1 1BP, facebook.com/ cookie.edinburgh, 0131 622 7260

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Cranachan and Crowdie 263 Canongate, EH8 8BQ, cranachanandcrowdie. com, 0131 556 7194

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The Frayed Hem 45 Cockburn Street, EH1 1BS, thefrayedhem.com, 0131 225 9831

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Fruitmarket Gallery 45 Market Street, EH1 1DF, fruitmarket.co.uk, 0131 225 2383

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Godiva 9 West Port, EH1 2JA, godivaboutique.co.uk, 0131 221 9212

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Golden Hare 102 West Bow, EH1 2HH, goldenharebooks.com, 0131 629 1396

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Edinburgh Books

Hannah Zakari

145â&#x20AC;&#x201C;147 West Port, EH3 9DP, edinburghbooks. net, 0131 229 4431

43 Candlemaker Row, EH1 2QB, hannahzakari. co.uk, 0131 516 3264

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Fabhatrix 13 Cowgatehead, Edinburgh, EH1 1JY, fabhatrix. com, 0131 225 9222

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Focus 70 Canongate, Edinburgh, EH8 8AA, focuspocus. co.uk, 0131 629 9196

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Helios Fountain 7 Grassmarket, EH1 2HY, helios-fountain.co.uk, 0131 229 7884

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Herman Brown 151 West Port, Edinburgh, EH3 9DP, hermanbrown. co.uk, 0131 228 2589

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Joe 3 Greyfriars Place, EH1 2QQ, joe-cool.co.uk, 0131 225 4881

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Mr Woodâ&#x20AC;&#x2122;s Fossils 5 Cowgatehead, Grassmarket, EH1 1JY, mrwoodsfossils.co.uk, 0131 220 1344

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Old Town Bookshop 8 Victoria Street, EH1 2HG, oldtownbookshop.com, 0131 225 9237

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Owl & Lion 66 West Port, EH1 2LD, owlandliongallery.com, 0131 221 0818

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Present 18 St Maryâ&#x20AC;&#x2122;s Street, EH1 1SU, presentboutique. co.uk, 0131 556 5050

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Ragamuffin 278 Canongate, EH8 8AA, ragamuffinonline. co.uk, 0131 557 6007

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The Record Shak 69 Clerk Street, EH8 9JG, 0131 667 7144

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Red Dog Music 1 Grassmarket, EH1 2HY, reddogmusic.co.uk, 0131 229 8211

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OLD TOWN CITY GUIDE

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Red Door Gallery 42 Victoria Street, EH1 2JW, edinburghart.com, 0131 477 3255

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Royal Mile Whiskies 379 High Street, EH1 1PW, royalmilewhiskies.com, 0131 622 6255

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Swish 22â&#x20AC;&#x201C;24 Victoria Street, EH1 2JW, swishlife.co.uk, 0131 225 7180

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Totty Rocks 40 Victoria Street, EH1 2JW, tottyrocks.com, 0131 226 3232

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Transreal Fiction 46 Candlemaker Row, EH1 2QE, transreal.co.uk, 0131 226 6266

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Underground Soluâ&#x20AC;&#x2122;shn 9 Cockburn Street, EH1 1BP, undergroundsolushn. com, 0131 226 2242

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Unknown Pleasures 110 Canongate, EH8 8DD, facebook.com/ vinylnetuk, 0131 652 3537

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EATING INEXPENSIVE The Baked Potato Shop VEGETARIAN 56 Cockburn Street, EH1 1PB, 0131 225 7572 | ÂŁ7 (lunch/dinner)

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Brew Lab

COCKTAIL HOT SPOTS

CAFĂ&#x2030;S 6â&#x20AC;&#x201C;8 South College Street, EH8 9AA, 0131 662 8963, brewlabcoffee.co.uk | ÂŁ8 (lunch)

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Cafe Hub CAFĂ&#x2030;S Castlehill, Royal Mile, EH1 2NE, 0131 473 2067, thehub-edinburgh.com | ÂŁ6 (soup and sandwich)

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City Art Centre CafĂŠ ARTS VENUES City Art Centre, 2 Market Street, EH1 1DE, 0131 226 4965, edinburghmuseums.org.uk | ÂŁ11 (lunch)

Itâ&#x20AC;&#x2122;s not all student theatre and stand-up comedians trying to make it on to TV panel shows â&#x20AC;&#x201C; Edinburgh also has some classy cocktail joints where hipsters hang out and talented mixologists showcase their skills. Barry Cooper hand-picks a few places to escape the festival crowds for a margarita or two

Panda & Sons 79 Queen Street, New Town, 0131 220 0443, pandaandsons.com

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The Bon Vivant 55 Thistle Street, New Town, 0131 225 3275, bonvivantedinburgh.co.uk and 4â&#x20AC;&#x201C;6 Dean Street, Stockbridge, 0131 315 3311, bonvivant-stockbridge.co.uk

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Tonic 34a North Castle Street, New Town, 0131 225 6431, bar-tonic.co.uk

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Dragonfly 52 West Port, Old Town, 0131 228 4543, dragonflycocktailbar.com

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The Last Word Saloon 44 St Stephen Street, Stockbridge, 0131 225 9009, lastwordsaloon.com

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Wedgwood is more than just a restaurant; it is a hidden gem on Edinburghâ&#x20AC;&#x2122;s prestigious Royal Mile. Paul and Lisa have a passion for food and hospitality and offer the complete dining experience in warm, intimate surroundings. Open 7 days a week s Lunch from 12pm and Dinner from 6pm SLTN Restaurant of the year 2010, 2011 and 2013 RĂŠmy Martin VSOP Award for Best Newcomer in the UK 2010 Hitlisted by The List Eating and Drinking Guide 2009/10, 2010/11 and 2011/12

267 Canongate, Royal Mile, Edinburgh, EH8 8BQ s 0131 55 88 737 www.wedgwoodtherestaurant.co.uk info@wedgwoodtherestaurant.co.uk

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 125

Fresh Food:Festival Places

CITY GUIDE OLD TOWN

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GETTING AROUND

Dovecot CafĂŠ by Stag Espresso

A brief guide to the main methods of transport around Edinburgh

ON FOOT

TAXI

Edinburgh isnâ&#x20AC;&#x2122;t just startlingly beautiful â&#x20AC;&#x201C; itâ&#x20AC;&#x2122;s also pretty compact, and circumnavigable in a matter of hours. Edinburgh Castle is visible from most places, so use that as your landmark and get exploring.

Taxis in Edinburgh arenâ&#x20AC;&#x2122;t especially cost effective, but they are speedy, reliable and weatherproof. Black cabs can be hailed in the street or boarded at taxi ranks (which are plentiful in the city centre), while private minicabs have to be called in advance: try Central Taxis 0131 229 2468, City Cabs 0131 228 1211 or Festival City Cars 0131 552 1772. Stay safe: never get into an unbooked minicab and always make sure your driverâ&#x20AC;&#x2122;s ID card is visible.

BUS Local transport company Lothian Buses operates a pretty comprehensive bus service with a flat-fare system: ÂŁ1.50 will get you from A to B anywhere in the city, while ÂŁ3.50 buys you unlimited travel for the whole day (Airlink buses are an exception: ÂŁ4 for a single, ÂŁ7 for an open return). Night Buses kick in around midnight, with a flat rate of ÂŁ3, which lasts the whole night. Change is not available on board, but you can sign up for mobile ticketing or look into buying ticket saver deals at the Lothian Buses travel shops â&#x20AC;&#x201C; see lothianbuses. com for more details.

TRAM Lothian Buses also run the trams, so the fares are the same: ÂŁ1.50 for a single journey, ÂŁ3.50 for the whole day, with extra charges for links to the airport. Tickets must be bought in advance from vending machines at each tram stop, and ticket agents will be on board to make sure all tickets are valid. Again, lothianbuses.com has more info on mobile ticketing apps.

CYCLING If youâ&#x20AC;&#x2122;re confident on two wheels, Edinburgh can be very rewarding to see by bike: the cycle routes are reasonably well developed, and the plethora of steep hills, while challenging to climb, are a joy to race down (cobbles permitting). Hit up Bike Trax (biketrax. co.uk) or Edinburgh Cycle Hire (cyclescotland.co.uk) for hire rates, and watch your wheels around the tram tracks.

RICKSHAW Sure, theyâ&#x20AC;&#x2122;re pretty slow and ridiculously expensive, and not the most efficient way to get around this hilly city, but sometimes only a pedal-powered rickshaw will do. Remember to always agree a price before climbing in, and donâ&#x20AC;&#x2122;t pinch the ridersâ&#x20AC;&#x2122; bums â&#x20AC;&#x201C; itâ&#x20AC;&#x2122;s rude. (Niki Boyle)

126 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

Hula Juice Bar and Gallery CAFĂ&#x2030;S 103â&#x20AC;&#x201C;105 West Bow, EH1 2JP, 0131 220 1121, hulajuicebar.co.uk | ÂŁ6.50 (lunch)

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ARTS VENUES Dovecot Studios, 10 Infirmary Street, EH1 1LT, StagEspresso.com | Closed Sun. ÂŁ6.50 (soup and sandwich)

Kebab Mahal

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Edinburgh Larder CafĂŠ

Lailaâ&#x20AC;&#x2122;s Bistro

CAFĂ&#x2030;S 15 Blackfriars Street, EH1 1NB, 0131 556 6922, edinburghlarder.co.uk | ÂŁ7 (soup and sandwich)

MEDITERRANEAN 63 Cockburn Street, EH1 1BS, 0131 226 5097, lailas-bistro.co.uk | ÂŁ14 (lunch/dinner)

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The Fruitmarket Gallery CafĂŠ ARTS VENUES Fruitmarket Gallery, 45 Market Street, EH1 1DF, 0131 226 1843, fruitmarket.co.uk | ÂŁ12 (lunch)

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Gran CaffĂ¨ CAFĂ&#x2030;S The Signet Library, Parliament Square, High Street, EH1 1RF, 0131 226 1064, thesignetlibrary.co.uk/grancaffe | Closed Sat/Sun. ÂŁ8 (soup and sandwich)

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INDIAN 7 Nicolson Square, EH8 9BH, 0131 667 5214, kebab-mahal.co.uk | ÂŁ7.50 (lunch) / ÂŁ10 (dinner)

Oink CAFĂ&#x2030;S 34 Victoria Street, EH1 2JW, 07771 968233 and 82 Canongate, EH8 8BZ, 07584 637416, oinkhogroast.co.uk | ÂŁ5 (lunch)

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St Gilesâ&#x20AC;&#x2122; Cathedral CafĂŠ ARTS VENUES & ATTRACTIONS St Gilesâ&#x20AC;&#x2122; Cathedral, High Street, EH1 1RE, 0131 225 5147, glenfinlas.com | ÂŁ10 (lunch)

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The Storytelling CafĂŠ ARTS VENUES Scottish Storytelling Centre, 43 High Street, EH1 1SR, 0131 556 1229, scottishstorytellingcentre. co.uk | ÂŁ11 (lunch)

OLD TOWN CITY GUIDE

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Union of Genius CAFĂ&#x2030;S 8 Forrest Road, EH1 2QN, 0131 226 4436, unionofgenius.com | Closed Sat/Sun. ÂŁ5.50 (set lunch)

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MID-PRICE Angels with Bagpipes SCOTTISH 343 High Street, EH1 1PW, 0131 220 1111, angelswithbagpipes.co.uk | ÂŁ14.95 (set lunch) / ÂŁ25 (dinner)

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Beirut MIDDLE EAST 24 Nicolson Square, EH8 9BU, 0131 667 9919, beirutrestaurant.co.uk | ÂŁ16 (dinner)

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Blackfriars BISTROS & BRASSERIES 57â&#x20AC;&#x201C;61 Blackfriars Street, EH1 1NB, 0131 558 8684, blackfriarsedinburgh.co.uk | Closed Mon. ÂŁ14.50 (set lunch) / ÂŁ24 (dinner)

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Bonsai Bar Bistro JAPANESE 46 West Richmond Street, EH8 9DZ, 0131 668 3847, bonsaibarbistro.co.uk | ÂŁ4.90 (set lunch) / ÂŁ17 (dinner)

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The Crafters Barn BARS & PUBS 9 North Bank Street, EH1 2LP, 0131 226 1178, crafters-barn.co.uk | ÂŁ8.95 (set lunch) / ÂŁ15 (dinner)

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David Bann VEGETARIAN 56â&#x20AC;&#x201C;58 St Maryâ&#x20AC;&#x2122;s Street, EH1 1SX, 0131 556 5888, davidbann.com | ÂŁ18 (lunch) / ÂŁ18 (dinner)

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Hanamâ&#x20AC;&#x2122;s KURDISH 3 Johnston Terrace, EH1 2PW, 0131 225 1329, hanams.com | ÂŁ9.95 (set lunch) / ÂŁ17 (dinner)

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La Locanda ITALIAN 61 Cockburn Street, EH1 1BS, 0131 622 7447 | ÂŁ12 (lunch/dinner)

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Monteiths BISTROS & BRASSERIES 57â&#x20AC;&#x201C;61 High Street, EH1 1SR, 0131 557 0330, monteithsrestaurant.co.uk | ÂŁ27 (lunch) / ÂŁ32 (dinner)

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Mother Indiaâ&#x20AC;&#x2122;s CafĂŠ INDIAN 3â&#x20AC;&#x201C;5 Infirmary Street, EH1 1LT, 0131 524 9801, motherindiascafeedinburgh.co.uk | ÂŁ15 (lunch/ dinner)

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The Mussel and Steak Bar FISH 110 West Bow, Grassmarket, EH1 2HH, 0131 225 5028, musselandsteakbar.com | ÂŁ9.95 (set lunch) / ÂŁ25 (dinner)

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North Bridge Brasserie BISTROS & BRASSERIES North Bridge, EH1 1YT, 0131 622 2900, northbridgebrasserie.com | ÂŁ14.50 (set lunch) / ÂŁ35 (dinner)

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Howies SCOTTISH 10â&#x20AC;&#x201C;14 Victoria Street, EH1 2HG, 0131 225 1721, howies.uk.com | ÂŁ9.95 (set lunch) / ÂŁ20 (dinner)

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ÂŁ49 per person

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 127

Fresh Food:Festival Places

CITY GUIDE OLD FEATURE TOWNHEADLINE HERE

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Petit Paris FRENCH 38â&#x20AC;&#x201C;40 Grassmarket, EH1 2JU, 0131 226 2442, petitparis-restaurant.co.uk | ÂŁ11.90 (set lunch) / ÂŁ20 (dinner)

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Spoon BISTROS & BRASSERIES 6a Nicolson Street, EH8 9DH, 0131 623 1752, spoonedinburgh.co.uk | ÂŁ14 (lunch) / ÂŁ22 (dinner)

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Thai Orchid THAI 5A Johnston Terrace, EH1 2PW, 0131 225 6633, thaiorchid.uk.com | ÂŁ8.95 (set lunch) / ÂŁ18 (dinner)

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Cucina

Ondine

ITALIAN G&V Royal Mile Hotel, 1 George IV Bridge, EH1 1AD, 0131 240 1666, quorvuscollection.com/ gandv-hotel-edinburgh | ÂŁ15.95 (set lunch) / ÂŁ26 (dinner)

FISH 2 George IV Bridge, EH1 1AD, 0131 226 1888, ondinerestaurant.co.uk | Closed Sun. ÂŁ22 (set lunch) / ÂŁ35 (dinner)

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La Garrigue

Tower Restaurant

FRENCH 31 Jeffrey Street, EH1 1DH, 0131 557 3032, lagarrigue.co.uk | ÂŁ12.50 (set lunch) / ÂŁ25 (dinner)

SCOTTISH National Museum of Scotland, Chambers Street, EH1 1JF, 0131 225 3003, tower-restaurant.com | ÂŁ15.95 (set lunch) / ÂŁ32 (dinner)

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The Grain Store SCOTTISH 30 Victoria Street, EH1 2JW, 0131 225 7635, grainstore-restaurant.co.uk | ÂŁ12.50 (set lunch) / ÂŁ30 (dinner)

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Hotel du Vin Bistro BISTROS & BRASSERIES 11 Bristo Place, EH1 1EZ, 0131 247 4900, hotelduvin.com/locations/edinburgh/bistro | ÂŁ24 (lunch/dinner)

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HIGH-END

Michael Neave Kitchen & Whisky Bar

Aizle BISTROS & BRASSERIES 107â&#x20AC;&#x201C;109 St Leonardâ&#x20AC;&#x2122;s Street, EH8 9QY, 0131 662 9349, aizle.co.uk | ÂŁ35 (set dinner)

SCOTTISH 21 Old Fishmarket Close, EH1 1RW, 0131 226 4747, michaelneave.com | Closed Sun/Mon. ÂŁ12.95 (set lunch) / ÂŁ23 (dinner)

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128 THE LIST | Edinburgh Festival Guide 2014 2013 | list.co.uk/festival

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Wedgwood the Restaurant SCOTTISH 267 Canongate, EH8 8BQ, 0131 558 8737, wedgwoodtherestaurant.co.uk | ÂŁ12.95 (set lunch) / ÂŁ27 (dinner)

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DRINKING Bar Kohl 54 George IV Bridge, EH1 1EJ, 0131 225 6936, barkohl.co.uk

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The Bow Bar 80 West Bow, Victoria Street, EH1 2HH, 0131 226 7667

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BrewDog Edinburgh 143â&#x20AC;&#x201C;145 Cowgate, EH1 1JS, 0131 220 6517, brewdog.com/bars/edinburgh

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Dragonfly 52 West Port, EH1 2LD, 0131 228 4543, dragonflycocktailbar.com

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Ecco Vino 19 Cockburn Street, EH1 1BP, 0131 225 1441, eccovinoedinburgh.com

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Hemma 75 Holyrood Road, EH8 8AU, 0131 629 3327, bodabar.com

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The Holyrood 9A 9a Holyrood Road, EH8 8AE, 0131 556 5044, fullerthomson.com

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Pommery Champagne CafĂŠ Bar Signet Library, Parliament Square, EH1 1RF, 0131 225 0651, thesignetlibrary.co.uk/ pommery-champagne-cafe-bar

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Fresh Food:Festival Places

CITY GUIDE NEW TOWN & STOCKBRIDGE

SHOPPING

Sheila Fleet

castellocoffee.co.uk | ÂŁ4.80 (soup & sandwich)

Eteaket

18 St Stephen Street,Stockbridge, EH3 5AL, sheilafleet.com, 0131 225 5939

ALC

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CAFĂ&#x2030;S 41 Frederick Street, EH2 1EP, 0131 226 2982, eteaket.co.uk | ÂŁ15 (lunch)

61 Thistle Street, EH2 1DY, alceshop.com, 0131 226 2317

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Bliss 5 Raeburn Place, EH4 1HU, facebook.com/ BlissBoutiqueStockbridge, 0131 332 4605

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Chic and Unique 8 Deanhaugh Street, EH4 1LY, vintagecostumejewellery.co.uk/shop, 0131 332 9889

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Dickâ&#x20AC;&#x2122;s Edinburgh 3 North West Circus Place, EH3 6ST, dicksedinburgh.co.uk, 0131 226 6220

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Eden 18 North West Circus Place, EH3 6SX, edenretail. co.uk, 0131 225 5222

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Epitome

VoxBox Music 21 St Stephen Street, EH3 5AN, voxboxmusic. co.uk, 0131 629 6775

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EATING INEXPENSIVE CafĂŠ Portrait ARTS VENUES Scottish National Portrait Gallery, 1 Queen Street, EH2 1JD, 0131 624 6423, heritageportfolio.co.uk | ÂŁ8.50 (lunch)

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Castello Coffee Co CAFĂ&#x2030;S 7 Castle Street, EH2 3AH, 0131 225 9780,

35 Dundas Street, EH3 6QQ, epitomeofedinburgh.com, 0131 556 5554

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Cuckooâ&#x20AC;&#x2122;s Bakery CAFĂ&#x2030;S 150 Dundas Street, EH3 5DQ, 0131 556 6224, cuckoosbakery.co.uk | Closed Mon. ÂŁ9 (lunch)

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Earthy Canonmills BISTROS & BRASSERIES 1â&#x20AC;&#x201C;6 Canonmills Bridge, EH3 5LF, 0131 556 9696, earthy.co.uk | ÂŁ10 (lunch) / ÂŁ15 (dinner)

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Fleur de Sel FRENCH 61 Frederick Street, EH2 1LH, 0131 225 7983, fleurdesel-creperie.co.uk | ÂŁ10.90 (set lunch) / ÂŁ14 (dinner)

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French Press Coffee Company CAFĂ&#x2030;S 25a Dundas Street, EH3 6QQ, 0131 556 4336, frenchpresscoffeecompany.co.uk | ÂŁ7 (lunch)

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Homer

The Gateway Restaurant

8 Howe Street, EH3 6TD, athomer.co.uk, 0131 225 3168

ARTS VENUES & ATTRACTIONS John Hope Gateway Centre, Royal Botanic Garden, Arboretum Place, EH3 5LR, 0131 552 2674, gatewayrestaurant.net | ÂŁ13.95 (set lunch)

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Joseph Bonnar 72 Thistle Street, EH2 1EN, josephbonnar.com, 0131 226 2811

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Laurel Gallery 58 St Stephen Street,Stockbridge, EH3 5AL, laurelgallery.co.uk, 0131 226 5022

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Ronde Bicycle Outfitters 66â&#x20AC;&#x201C;68 Hamilton Place, Stockbridge, EH3 5AZ, rondebike.com, 0131 260 9888

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Hendersonâ&#x20AC;&#x2122;s Vegetarian Restaurant VEGETARIAN 94 Hanover Street, EH2 1DR, 0131 225 2131, hendersonsofedinburgh.co.uk | ÂŁ9.95 (set lunch) / ÂŁ14 (dinner)

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NEW TOWN & STOCKBRIDGE CITY GUIDE

Foodies Festival with top chefs

Edinburgh Inverleith Park 8, 9, 10 August

2 TICKETS FROM Â£10

QUOTE THELIST241

MASTERCHEF

ADAM HANDLING COOKING LIVE

0844 995 1111 www.foodiesfestival.com

! ! ! # "

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 131

Fresh Food:Festival Places

CITY GUIDE NEW TOWN & STOCKBRIDGE

Leoâ&#x20AC;&#x2122;s Beanery CAFĂ&#x2030;S 23a Howe Street, EH3 6TF, 0131 556 8403, leosbeanery.co.uk | ÂŁ9 (lunch)

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Pep & Fodder CAFĂ&#x2030;S 11 Waterloo Place, EH1 3BG, 0131 556 5119, pepandfodder.com | ÂŁ7 (lunch)

ESSENTIAL EDINBURGH

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The Stand

Edinburgh Castle Royal Mile, EH1 2NG, edinburghcastle.gov. uk, 0131 225 9846. ÂŁ16 (ÂŁ12.80; under 5s free). Daily 9.30amâ&#x20AC;&#x201C;6pm.

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Scottish National Gallery of Modern Art 75 Belford Road, EH4 3DR, nationalgalleries. org, 0131 624 6200. Free (charges apply for some exhibitions). Daily 10amâ&#x20AC;&#x201C;5pm.

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Royal Botanic Garden Arboretum Place, EH3 5LR, rbge.org.uk, 0131 248 2909. Free. Glasshouse entry ÂŁ5 (ÂŁ4; children free). Daily 10amâ&#x20AC;&#x201C;6pm.

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Royal Yacht Britannia Ocean Terminal, Leith, EH6 6JJ, royalyachtbritannia.co.uk, 0131 555 8800. ÂŁ12.75 (ÂŁ11.50; children ÂŁ7.75; under 5s free; family ÂŁ36.50). Daily 9.30amâ&#x20AC;&#x201C;4.30pm.

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Edinburgh Zoo Corstorphine Road, EH12 6TS, edinburghzoo.org.uk, 0131 334 9171. ÂŁ16.50 (ÂŁ14; under 16s ÂŁ12; under 3s free). Daily 9amâ&#x20AC;&#x201C;6pm.

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#;DEFK@ +?;F:

132 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

Blackwoodâ&#x20AC;&#x2122;s Bar & Grill SCOTTISH Nira Caledonia, 10 Gloucester Place, EH3 6EF, 0131 225 2720, niracaledonia.com | ÂŁ24 (dinner)

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CafĂŠ Marlayne FRENCH 76 Thistle Street, EH2 1EN, 0131 226 2230, cafemarlayne.com | ÂŁ12 (lunch) / ÂŁ20 (dinner)

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Urban Angel

CafĂŠ St HonorĂŠ

BISTROS & BRASSERIES 121 Hanover Street, EH2 1DJ, 0131 225 6215, urban-angel.co.uk | ÂŁ13 (lunch) / ÂŁ15 (dinner)

SCOTTISH 34 North West Thistle Street Lane, EH2 1EA, 0131 226 2211, cafesthonore.com | ÂŁ15.50 (set lunch) / ÂŁ18 (set dinner)

FESTIVAL VENUES 5 York Place, EH1 3EB, 0131 558 7272, thestand. co.uk | ÂŁ11 (dinner)

Thereâ&#x20AC;&#x2122;s so much happening in Edinburgh in August that it can be hard to tear yourself away from all the cultural excitement. But if you do find yourself craving some fresh air, or just canâ&#x20AC;&#x2122;t face another student production of Macbeth, it might be time to visit one of the cityâ&#x20AC;&#x2122;s year-round blockbuster attractions to get a different perspective on Scotlandâ&#x20AC;&#x2122;s capital

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MID-PRICE Bellâ&#x20AC;&#x2122;s Diner NORTH AMERICAN 7 St Stephen Street, EH3 5AN, 0131 225 8116 | ÂŁ16 (lunch) / ÂŁ16 (dinner)

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Bistro Moderne BISTROS & BRASSERIES 15 North West Circus Place, EH3 6SX, 0131 225 4431, bistromoderne.co.uk | ÂŁ15 (set lunch) / ÂŁ26 (dinner)

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Calistoga NORTH AMERICAN 70 Rose Street North Lane, EH2 3DX, 0131 225 1233, calistoga.co.uk | ÂŁ12 (set lunch) / ÂŁ26 (dinner)

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NEW TOWN & STOCKBRIDGE CITY GUIDE

Located in the heart of Edinburgh's New Town, The Magnum Bar & Restaurant prides itself on combining Scotland's best local ingredients with traditional flavours, providing warm and welcoming surroundings, an appetising lunch and dinner menu offering Scottish dishes as well featuring fresh seasonal game and seafood. Opening Times: Mon to Thurs 12pm - 12am Fri and Sat 12pm - 1am Sunday 12.30pm - 11pm

Voted 10th most popular hidden gems in the UK by toptable.co.uk

Food served: 12pm - 3pm & 5.30 pm - 10pm

Edinburgh Capital Silver Award 2009

1 Albany Street, Edinburgh, EH1 3PY 0131 557 4366

Ç Ç Ç Í&#x2DC;Ä?Ĺ˝ĹśĆ&#x;ĹśĹ?Í&#x2DC;Ä?Ĺ˝Ĺľ ĎŹĎĎŻĎ ĎŽĎŽĎą ĎĎąĎąĎŹ Î&#x203A;Ä?Ĺ˝ĹśĆ&#x;ĹśĹ?Ä?Ĺ?Ć&#x161;Ä&#x17E;Ć? Ä¨Ä&#x201A;Ä?Ä&#x17E;Ä?Ĺ˝Ĺ˝ĹŹÍ&#x2DC;Ä?Ĺ˝ĹľÍŹsĹ?Ä?Ć&#x161;Ĺ˝Ć&#x152;Ä&#x201A;ĹśÄ&#x161; Ä&#x201A;Ć&#x152;Ĺ?ĹśÄ&#x201A; Ĺ˝ĹśĆ&#x;ĹśĹ?

""" # !

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 133

Fresh Food:Festival Places

CITY GUIDE NEW TOWN & STOCKBRIDGE

Chaophraya

The Bon Vivant

THAI 33 Castle Street, EH2 3DN, 0131 226 7614, chaophraya.co.uk/venues/chaophrayaedinburgh | ÂŁ13.95 (set lunch) / ÂŁ19 (dinner)

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BISTROS & BRASSERIES 110 Hanover Street, EH2 1DR, 0131 220 1208, thedogsonline.co.uk | ÂŁ12 (lunch) / ÂŁ20 (dinner)

Dusit THAI 49a Thistle Street, EH2 1DY, 0131 220 6846, dusit.co.uk | ÂŁ12.95 (set lunch) / ÂŁ20 (dinner)

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Fishers in the City FISH 58 Thistle Street, EH2 1EN, 0131 225 5109, fishersrestaurantgroup.co.uk | ÂŁ13 (set lunch) / ÂŁ26 (dinner)

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Purslane SCOTTISH 33a St Stephen Street, EH3 5AH, 0131 226 3500, purslanerestaurant.co.uk | Closed Mon. ÂŁ12.95 (set lunch) / ÂŁ22.95 (set dinner)

Harvey Nichols, 30â&#x20AC;&#x201C;34 St Andrew Square, EH2 2AD, 0131 524 8350, harveynichols.com | ÂŁ17 (set lunch) / ÂŁ17 (dinner)

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The Gardenerâ&#x20AC;&#x2122;s Cottage SCOTTISH 1 Royal Terrace Gardens, EH7 5DX, 0131 558 1221, thegardenerscottage.co | Closed Tue/Wed. ÂŁ23 (lunch) / ÂŁ30 (set dinner)

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Iris

Forth Floor Brasserie

BISTROS & BRASSERIES 47a Thistle Street, EH2 1DY, 0131 220 2111, irisedinburgh.co.uk | ÂŁ13.95 (set lunch) / ÂŁ23 (dinner)

BISTROS & BRASSERIES

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Calistoga

ity d t ial c e e ist Lis "Sp r " t-l of e Yea s Hi The r lde f th by Ho ant o t n r rre au Cu Rest

THIS LANE Restaurant Calistoga

70 Rose St. Lane North., EH2 3DX 0131 225 1233 www.Calistoga.co.uk

Scotland's Californian Restaurant Just 1/2 block from The Assembly Rooms & The Famous Spiegeltent

Search us out - on foot or on-line www.Calistoga.co.uk 0131 225 1233

BISTROS & BRASSERIES 91 Broughton Street, EH1 3RX, 0131 557 8589, theolivebranchscotland.co.uk | ÂŁ12.95 (set lunch) / ÂŁ18 (dinner)

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The Dogs

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Olive Branch Bistro

70 Rose St. Lane North, Edinburgh EH2 3DX

134 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

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The Magnum SCOTTISH 1 Albany Street, EH1 3PY, 0131 557 4366, themagnum.webeden.co.uk | ÂŁ12.95 (set lunch) / ÂŁ25 (dinner)

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Miroâ&#x20AC;&#x2122;s Cantina Mexicana MEXICAN 184 Rose Street, EH2 4BA, 0131 225 4376, miroscantinamexicana.com | ÂŁ12 (lunch) / ÂŁ18 (dinner)

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Mussel Inn FISH 61â&#x20AC;&#x201C;65 Rose Street, EH2 2NH, 0131 225 5979, mussel-inn.com | ÂŁ7.50 (set lunch) / ÂŁ19 (dinner)

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Rollo BARS & PUBS 108 Raeburn Place, EH4 1HH, 0131 332 1232 | ÂŁ17 (lunch/dinner)

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Ruan Siam THAI 48 Howe Street, EH3 6TH, 0131 226 3675, ruanthai.co.uk | ÂŁ9.95 (set lunch) / ÂŁ19 (dinner)

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The Scottish CafĂŠ and Restaurant SCOTTISH National Gallery of Scotland, The Mound, EH2 2EL, 0131 226 6524, thescottishcafeandrestaurant.com | ÂŁ16.95 (set lunch)

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NEW TOWN & STOCKBRIDGE CITY GUIDE

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C ashmere knitwear Made in Scotland www.cameron-taylor.com Exclusively stocked at: Epitome 35 Dundas Street EH3 6QQ Telephone: 0131 556 5554 www.epitomeofedinburgh.com

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 135

Fresh Food:Festival Places

CITY GUIDE NEW TOWN & STOCKBRIDGE

The Scran & Scallie BARS & PUBS 1 Comely Bank Road, EH4 1DT, 0131 332 6281, scranandscallie.com | Â£15 (set lunch) / Â£21 (dinner)

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Veritas Vino ITALIAN 24 Deanhaugh Street, EH4 1LY, 0131 315 2860, vino-veritas.co.uk

Passionate about Seafood 61-65 Rose Street Edinburgh EH2 2NH Reservations 0131 225 5979 157 Hope Street Glasgow G2 2UQ Reservations 0141 572 1405

www.mussel-inn.com

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Victor & Carina Contini Ristorante ITALIAN 103 George Street, EH2 3ES, 0131 225 1550, centotre.com | Â£13.95 (set lunch) / Â£20 (dinner)

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HIGH END

DRINKING

The Dining Room

The Bon Vivant

SCOTTISH The Scotch Malt Whisky Society, 28 Queen Street, EH2 1JX, 0131 220 2044, thediningroomedinburgh.co.uk | Â£35 (set lunch/ dinner)

55 Thistle Street, EH2 1DY, 0131 225 3275 and 4â&#x20AC;&#x201C;6 Dean Street, EH4 1LW, 0131 315 3311, bonvivantedinburgh.co.uk | Â£18 (lunch/dinner)

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Forth Floor Restaurant SCOTTISH Harvey Nichols, 30â&#x20AC;&#x201C;34 St Andrew Square, EH2 2AD, 0131 524 8350, harveynichols.com | Â£25 (set lunch) / Â£32 (dinner)

Bramble 16a Queen Street, EH2 1JE, 0131 226 6343, bramblebar.co.uk

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The Cambridge Bar

The Honours

49 Frederick Street, EH2 1EP, 0131 225 1045, cumberlandbar.co.uk

BISTROS & BRASSERIES 58a North Castle Street, EH2 3LU, 0131 220 2513, thehonours.co.uk | Closed Sun/Mon. Â£18.50 (set lunch) / Â£26 (dinner)

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Restaurant Mark Greenaway SCOTTISH 69 North Castle Street, EH2 3LJ, 0131 226 1155, markgreenaway.com | Closed Sun/Mon. Â£16.50 (set lunch) / Â£30 (dinner)

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21212 FRENCH 3 Royal Terrace, EH7 5AB, 0131 523 1030, 21212restaurant.co.uk | Â£22 (set lunch) / Â£53 (set dinner)

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136 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

7I B>357E ;@ 6;@4GD9: 7JG67 3E ?G5: 6GE=K 7>793@57 3E F:7 A@ .;H3@F /;F: ?AD7 F:3@ I;@7E 3H3;>34>7 4K F:7 9>3EE F:;E ;E 3@ ;673> B>357 FA E3?B>7 3 87I H3D;7F;7E 3@6 D757;H7 3@ 76G53F;A@ 8DA? I7>> H7DE76 EF388 ,3B3E EFK>7 6;E:7E ?3=7 3 F3EFK 355A?B3@;?7@F FA KAGD 47H7D397

20 Young Street, EH2 4JB, 0131 226 2120, thecambridgebar.co.uk

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Cumberland Bar ,:7 G?47D>3@6 ;E A@7 A8 F:AE7 EF3>I3DF 6;@4GD9: BG4E F:3FÊ 8G>> A8 5:3D35F7D 4GF 3>EA 5A@F;@G3>>K BABG>3D I;F: 3 ?;J76 5>;7@F7>7 '>6 E5:AA> 3@6 5:3D?;@9 ;FÊ 8G>> A8 5AEK @AA=E 3@6 5D3@@;7E 3@6 F:7 A>6 IAA67@ 43D ;E I7>> EFA5=76 I;F: D79G>3D>K 5:3@9;@9 9G7EF 3>7E 3@6 3DAG@6 ?3>F I:;E=;7E ,:7 8AA6 ?7@G 873FGD7E BG>>76 BAD= E3@6I;5:7E H7@;EA@ ?73F43>>E 3@6 H799;7 B3@53=7E 3>A@9E;67 F:7 ?AD7 FD36;F;A@3> 4GD97DE 3@6 43@97DE ,:7 477D 93D67@ ;E 3?A@9 F:7 5;FKÊ 47EF

The Last Word Saloon 44 St Stephen Street, EH3 5AL, 0131 225 9009, lastwordsaloon.com

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The Lucky Liquor Co 39a Queen Street, EH2 3NH, 0131 226 3976, luckyliquorco.com

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Panda & Sons 79 Queen Street, EH2 4NF, 0131 220 0443, pandaandsons.com

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STOCKBRIDGE ADVERTISING FEATURE CITY GUIDE

STOCKBRIDGE

This village within the city is just a ten-minute downhill stroll from Princes Street. It’s the starting point for the prettiest stretch of the Water of Leith, as well as being home to a weekly market and an eclectic mix of independent shops, bars and cafés

DICK’S EDINBURGH

EDEN

3 North West Circus Place, EH3 6ST, 0131 226 6220, dicks-edinburgh.co.uk

18 North West Circus Place, EH3 6SX, 0131 225 5222, edenretail.co.uk

Dick’s brings together a carefully selected collection of menswear, Scottish knitwear, accessories and homewares. They support small, independent manufacturers, both old and new, who specialise in their craft and have a common philosophy of quality, timeless style and longevity.

Independent fashion boutique Eden presents an exclusively different selection of ladies’ fashion clothing, accessories and jewellery. Stand out from the festival crowd with new deliveries arriving daily. Stockists of European brands including Selected Femme, Desigual, Anna Scott and introducing newest label Protected Species and their stylish 100% waterproof coats.

THE CUMBERLAND BAR

BLACKWOOD’S BAR & GRILL

1 Cumberland Street, EH3 6RT, 0131 558 3134, cumberlandbar.co.uk The New Town’s finest local, with a spacious beer garden forming a great outside destination. There’s an emphasis on locally sourced ‘slow food’ and a strong Scottish theme, as well as a great choice of real ales, craft beers and wines including Lomond (SA), Jackson (NZ), and Chocolate Box (Aus).

6-10 Gloucester Place, EH3 6EF, 0131 225 2720, www.niracaledonia. com Blackwood’s Josper chargrill oven cooks at ultra-high temperatures to retain food’s natural moisture and flavour. Steaks are charred and crispy on the outside yet juicily tender inside. Mussels, too, come out smoky and tender, the burning embers adding an authentic caramelised charcoal flavour. Open daily for dinner and also Sunday roast lunch.

SHEILA FLEET GALLERY

RUAN SIAM

18 St Stephen Street, EH3 5AL, 0131 225 5939, sheilafleet.com

48 Howe Street, EH3 6TH, 0131 226 3675, ruanthai.co.uk

Sheila Fleet designs sophisticated silver, enamel, gold, diamond and platinum jewellery collections that reflect times past and present. Inspired by Orkney’s rich history, folklore and beautiful landscapes, ring designs can be made to measure for any occasion. Shown is a princesscut diamond solitaire with a matching band in platinum.

Ruan Siam has been delighting Edinburghers since its inception in 2002. Meat and fish is locally sourced while Thai ingredients are flown in directly from Bangkok. Intricate and subtle flavours emulate the very best of authentic Thai cuisine – all washed down with a surprising selection of Thai wine and beer. They also run an efficient delivery service.

VERITAS VINO

BLISS

24 Deanhaugh Street, EH4 1LY, 0131 315 2860, vino-veritas.co.uk

5 Raeburn Place, EH4 1HU, 0131 331 4605, facebook.com/ blissboutiquestockbridge

The latest addition to Stockbridge’s burgeoning dining scene, Veritas Vino is nestled in an unassuming basement where staff serve up authentic Italian fare matched with an impressive wine list. Locally sourced meat and fish is given the full Italian treatment by the skilled chefs. An ideal place to escape the festival crowds during August.

Bliss is the perfect place to pick up a great gift for a new baby or a good friend. Only stocking products from small companies, you’re sure to find something of high quality and originality that’s not on the high street. There’s also a wall dedicated to cards. Popular brands include Jelly Cat, Toby Tiger and Scottish Fine Soap.

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 137

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Characterised for the rest of the year as Edinburgh’s student quarter, the Southside turns into a hub of frenzied festival activity during August. The focal point is at Edinburgh University’s Bristo Square campus, where promoters Assembly, Pleasance, Gilded Balloon and Underbelly field around a dozen venues apiece (the latter identifiable by their massive upturned purple cow). It’s the ideal place to bask in the Fringe buzz and enjoy some alfresco beer and street food between shows. Behind the University buildings, you’ll find the Meadows, a vast stretch of parkland that fills up sharpish whenever the sun comes out. You’ll no doubt be able to find one or two big-top performances down this way, as well as some sporting areas (tennis courts to the east end, a putting green to the west), but for the most part it’s a place to relax and have a barbecue with friends. Head west of the Meadows and you’ll wander into Tollcross, a largely residential area that has more than its fair share of bars and restaurants, with a few notable venues thrown in. Take a leisurely stroll to the south and you’ll find Bruntsfield, Marchmont and Morningside, three well-heeled suburbs with an abundance of bistros, boutiques and delicatessens. Just past the east end of the Meadows are Clerk Street, Nicolson Street and South Bridge (actually just one long road that’s confusingly fond of changing its name every half mile or so). Given its proximity to student accommodation, this is the place to visit if you’re after cheap eats. It’s also home to two of the city’s more prestigious venues, the Queen’s Hall and the Edinburgh Festival Theatre (both utilised by the Edinburgh International Festival). Slightly off the main drag, but worth seeking out, is the Pleasance Courtyard, a Fringe hub awash with off-duty comedians grazing on burgers and sipping plastic pints of lager. It sits comfortably in the shadow of Arthur’s Seat, Edinburgh’s own little slice of the Highlands, and home to some spectacular views of the city skyline. (Niki Boyle)

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Fresh Food:Festival Places

CITY GUIDE SOUTHSIDE

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SOUTHSIDE CITY GUIDE

JANNICA HONEY

SHOPPING SOUTHSIDE Coco Chocolate 174 Bruntsfield Place, EH10 4ER, 0131 228 4526, cocochocolate.co.uk

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Drinkmonger 11 Bruntsfield Place, EH10 4HN, 0131 229 2205, drinkmonger.com

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Hogâ&#x20AC;&#x2122;s Head Music 62 South Clerk Street, EH8 9PS, 0131 667 5274, hogs-head.com

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Looking Glass Books 36 Simpson Loan, Quartermile, EH3 9GG, 0131 229 2902, lookingglassbooks.com Ensuring bookworms with a caffeine habit can feed both their addictions, this amiable â&#x20AC;&#x2DC;booktiqueâ&#x20AC;&#x2122; boasts its own lively literary scene, hosting a stream of reading groups, author events and kidsâ&#x20AC;&#x2122; storytelling sessions amid shelves stuffed with bestsellers and obscurities.

The Nomads Tent 21â&#x20AC;&#x201C;23 St Leonardâ&#x20AC;&#x2122;s Lane, EH8 9SH, 0131 662 1612, nomadstent.co.uk

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Spektakular 11 Colinton Road, EH10 5DP, 0131 629 0941, blog. spektakular.co.uk

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Word Power Bookshop 43 West Nicolson Street, EH8 9DB, word-power. co.uk, 0131 662 9112

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EATING INEXPENSIVE Anteaques CAFĂ&#x2030;S 17 Clerk Street, EH8 9JH, 0131 667 8466, anteaques.co.uk | ÂŁ6 (lunch)

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La Barantine CAFĂ&#x2030;S 202 Bruntsfield Place, EH10 4DF, 0131 229 0267 | ÂŁ6.95 (set lunch)

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Bindi INDIAN 45 St Patrickâ&#x20AC;&#x2122;s Square, EH8 9ET, 0131 662 1807, bindiedinburgh.com/ | Closed Mon. ÂŁ5 (set lunch) / ÂŁ15 (dinner)

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Earthy Market CafĂŠ CAFĂ&#x2030;S 33â&#x20AC;&#x201C;41 Ratcliffe Terrace, EH9 1SX, 0131 667 2967, earthy.co.uk | ÂŁ13 (lunch)

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The Engine Shed CAFĂ&#x2030;S / VEGETARIAN 19 St Leonards Lane, EH8 9SD, 0131 662 0040, engineshed.org | Closed Sun. ÂŁ8.50 (set lunch)

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The Forest CafĂŠ CAFĂ&#x2030;S / VEGETARIAN 141 Lauriston Place, EH3 9JN, 0131 229 4922, blog.theforest.org.uk/ | ÂŁ6 (lunch/dinner)

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Kalpna

Falko (Konditormeister)

INDIAN / VEGETARIAN 2/3 St Patrickâ&#x20AC;&#x2122;s Square, EH8 9EZ, 0131 667 9890, kalpnarestaurant.com | ÂŁ8 (set lunch) / ÂŁ15.50 (dinner)

CAFĂ&#x2030;S 185 Bruntsfield Place, EH10 4DG, 0131 656 0763, falko.co.uk | Closed Mon/Tue. ÂŁ9.50 (lunch)

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The Chocolate Tree CAFĂ&#x2030;S 123 Bruntsfield Place, EH10 4EQ, 0131 228 3144, the-chocolate-tree.co.uk | ÂŁ8 (lunch)

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list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 139

Fresh Food:Festival Places

CITY GUIDE SOUTHSIDE

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Kampong Ah Lee Malaysian Delight MALAYSIAN 28 Clerk Street, EH8 9HX, 0131 662 9050, kampongahlee.co.uk | ÂŁ12 (lunch/dinner)

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Peterâ&#x20AC;&#x2122;s Yard CAFĂ&#x2030;S 27 Simpson Loan (Quartermile), EH3 9GG, 0131 228 5876, petersyard.com | ÂŁ9 (lunch)

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The Mosque Kitchen INDIAN 31â&#x20AC;&#x201C;33 Nicolson Square, EH8 9BX, 0131 667 4035, mosquekitchen.com | ÂŁ7 (lunch/dinner)

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Tanjore INDIAN 6â&#x20AC;&#x201C;8 Clerk Street, EH8 9HX, 0131 478 6518, tanjore.co.uk/ | ÂŁ8 (set lunch) / ÂŁ14 (dinner)

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Bia Bistrot BISTROS & BRASSERIES 19 Colinton Road, EH10 5DP, 0131 452 8453, biabistrot.co.uk | Closed Mon. ÂŁ9.50 (set lunch) / ÂŁ30 (dinner)

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El Quijote SPANISH 13a Brougham Street, EH3 9JS, 0131 478 2856, quijotetapas.co.uk | ÂŁ20 (lunch/dinner)

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MID-PRICE The Apartment Bistro BISTROS & BRASSERIES 7â&#x20AC;&#x201C;13 Barclay Place, EH10 4HW, 0131 228 6456, apartmentrestaurant.com | ÂŁ12 (set lunch) / ÂŁ20 (dinner)

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10 Gillespie Place Edinburgh, 0131 281 0526

LATE NIGHT BITES

harajukukitchen.co.uk A unique and exciting Japanese eating experience in the heart of Edinburgh. Authentic, traditional, home-cooked hot dishes and sushi made with fresh, local ingredients. Outside catering also available!

From post-theatre Malaysian feast to 4am burger, Edinburgh offers a surprising array of dusk-till-dawn eateries. Barry Cooper runs through some of the options If you can get there by 11pm, Kampong Ah Lee (28 Clerk Street, kampongahlee.co.uk) is a cafeteria-style Malaysian kitchen that serves the cityâ&#x20AC;&#x2122;s best roti cenai. A bowl of their laksa is guaranteed to curb any post-show munchies if you can get a table. For a hit of Middle Eastern shisha, Pomegranate at the top of Leith Walk (1 Antigua Street, pomegranatesrestaurant.com) is a lovely spot for apple tea and a mezze plate or three. With lighter food (hummus, shwarma) than the curry houses nearby, and alcohol-free unless you bring your own, youâ&#x20AC;&#x2122;ll thank yourself in the morning. If youâ&#x20AC;&#x2122;re after more western fare, Holyrood 9a (9a Holyrood Road, 0131 556 5044) is a funky, beer drinkersâ&#x20AC;&#x2122; retreat off the Royal Mile that keeps its kitchens open till past 11pm. Pop in for a burger and wash it down with one of 20 different ales and beers. For the hardier, Kebab Mahal (7 Nicolson Square, kebab-mahal.co.uk) is open till 2am at the weekend and delivers the late-night staples without pretension. Kebabs and bold, flavourful curries make for a meat-heavy stop in the wee small hours that wonâ&#x20AC;&#x2122;t break the bank. And for the true night owls there is always somewhere to go. The Rose Street Takeaway (106 Rose Street) is a late-night / early-morning destination for anything fried. In the heart of the city, itâ&#x20AC;&#x2122;s a short stumble from your venue or to your hotel room until 4am during the festival. If youâ&#x20AC;&#x2122;re on the edge of the New Town, try â&#x20AC;&#x2DC;disco chippyâ&#x20AC;&#x2122; CafĂŠ Piccante (19 Broughton Street, cafepiccante.com) for a similar buzz.

140 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

SOUTHSIDE CITY GUIDE

Located in Edinburgh city centre (next to the University) we are open every day from 12noon until late, oďŹ&#x20AC;ering unique homecooked kurdish and middle eastern cuisine.

- Two course lunch menu from 12-3pm every day - ÂŁ7 - Pre-theatre menu from 3pm to 6pm - Shisha in diďŹ&#x20AC;erent ďŹ&#x201A;avours is available -ÂŁ10 - We can accommodate a large party up to 60 people - See our website for special oďŹ&#x20AC;ers on kurdish feast - Bring your own bottle to make a cheaper dinner out

Tel. : 0131 667 2299 26-30 Potterrow, Edinburgh EH8 9BT contact@nawrozrestaurant.com www.nawrozrestaurant.com

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 141

Fresh Food:Festival Places

CITY GUIDE SOUTHSIDE

Field SCOTTISH 41 West Nicolson Street, EH8 9DB, 0131 667 7010, fieldrestaurant.co.uk | ÂŁ11.95 (set lunch) / ÂŁ19 (dinner)

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Harajuku Kitchen JAPANESE 10 Gillespie Place, EH10 4HS, 0131 281 0526, harajukukitchen.co.uk | Closed Mon. ÂŁ18 (dinner)

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Hellers Kitchen BISTROS & BRASSERIES 15 Salisbury Place, EH9 1SL, 0131 667 4654, hellerskitchen.co.uk | ÂŁ16 (lunch) / ÂŁ20 (dinner)

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Indaba GLOBAL 3 Lochrin Terrace, EH3 9QJ, 0131 221 1554, edindaba.co.uk | Closed Sun. ÂŁ17 (dinner)

FISH 11 Roseneath Street, EH9 1JH, 0131 229 7953, sweetmelindas.co.uk | Closed Sun/Mon. ÂŁ7.95 (set lunch) / ÂŁ24 (dinner)

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Sweet Melindas

Ting Thai Caravan THAI 8â&#x20AC;&#x201C;9 Teviot Place, EH1 2QZ, 0131 225 9801 | ÂŁ7 (lunch) / ÂŁ12 (dinner)

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Three Birds Restaurant BISTROS & BRASSERIES 3â&#x20AC;&#x201C;5 Viewforth, Bruntsfield, EH10 4JD, 0131 229 3252, threebirds.co.uk | ÂŁ9.50 (lunch) / ÂŁ15 (dinner)

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Kimâ&#x20AC;&#x2122;s Korean Meals KOREAN 5 Buccleuch Street, EH8 9JN, 0131 629 7951, kimsminimeals.com | ÂŁ15 (lunch) / ÂŁ20 (dinner)

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Nawroz KURDISH 5 Buccleuch Street, EH8 9JN, 0131 629 7951, kimsminimeals.com | ÂŁ15 (lunch) / ÂŁ20 (dinner)

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Nonnaâ&#x20AC;&#x2122;s Kitchen

Breakfast, Lunch, Dinner & Outside Catering Open all day from 9am (Sun 10am) Available for larger bookings. 15 Salisbury Place EH9 1SL (close to Queenâ&#x20AC;&#x2122;s Hall and the Commonwealth pool)

Tel: 0131 667 4654 info@hellerskitchen.co.uk www.hellerskitchen.co.uk

ITALIAN 45 Morningside Road, EH10 4AZ, 0131 466 6767, nonnas-kitchen.co.uk/ | ÂŁ14.50 (lunch) / ÂŁ23 (dinner)

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Passorn THAI 23â&#x20AC;&#x201C;23a Brougham Place, EH3 9JU, 0131 229 1537, passornthai.com | Closed Sun. ÂŁ9.95 (set lunch) / ÂŁ22 (dinner)

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142 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

COFFEE PIT STOPS

Edinburgh is frothing over with independently owned coffee houses and cafĂŠs, all brimming with personality and fiercely passionate about ethical sourcing and careful preparation. Ian Hogg picks out some of the best places for a mid-fest caffeine hit Pioneering nurturers of the cityâ&#x20AC;&#x2122;s coffee culture, Artisan Roast (138 Bruntsfield Place & 57 Broughton Street, artisanroast.co.uk) lead the charge with two perfectly formed outlets and a reputation as the cityâ&#x20AC;&#x2122;s finest purveyors. All together more stripped-back and urban, popular student haunt Brew Lab (6â&#x20AC;&#x201C;8 South College Street, brewlabcoffee.co.uk) serves up a range of rotating single-origin brews and â&#x20AC;&#x2DC;Has Beanâ&#x20AC;&#x2122; coffee blends. Castello Coffee (7 Castle Street, castellocoffee.co.uk) showcases New Zealand â&#x20AC;&#x2122;s Allpress espresso with expertly roasted seasonal beans and a smattering of popular sunny-aspect outdoor tables. Self-confessed coffee geeks Machina Espresso (2 Brougham Place, machina-espresso.co.uk) chat happily about the bean grinders and brewing equipment

that adorn their clean-lined cafĂŠ walls. Try and squeeze in their standout lemon polenta and thyme cake, washed down with delicious offerings from Glasgowâ&#x20AC;&#x2122;s Dear Green and North Berwick roasters Steampunk. Family-run Caffe Espresso (15 Bank Street, 0131 220 4400) offers a couple of sought-after window seats behind a blink-and-youâ&#x20AC;&#x2122;ll-miss-it shopfront, with reviving lattes encouraging a meander up and down the Royal Mileâ&#x20AC;&#x2122;s free street theatre. A new arrival in summer 2014, Filament (5 India Buildings, Victoria Street) promises more than just another coffee bar in whatâ&#x20AC;&#x2122;s a fastchanging, caffeine-fuelled scene. As well as a weekly changing rota of single-farm coffee blends, thereâ&#x20AC;&#x2122;s also a packed schedule of events such as craft beer nights, DJ sets, live music and street food.

SOUTHSIDE CITY GUIDE

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Ting Thai Caravan

Toast BISTROS & BRASSERIES 146 Marchmont Road, EH9 1AQ, 0131 446 9873, toastedinburgh.co.uk | Â£17 (lunch/dinner)

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Tuk Tuk INDIAN 1 Leven Street, EH3 9LH, 0131 228 3322, tuktukonline.com | Â£13 (lunch) / Â£18 (dinner)

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HIGH END Rhubarb SCOTTISH Prestonfield House, Priestfield Road, EH16 5UT, 0131 225 1333, prestonfield.com | Â£18 (set lunch) / Â£40 (dinner)

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DRINKING The Blackbird 37â&#x20AC;&#x201C;39 Leven Street, EH3 9LH, 0131 228 2280, theblackbirdedinburgh.co.uk

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Greenmantle 133 Nicolson Street, EH8 9JP, 0131 662 8741, greenmantlepub.co.uk

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The Potting Shed

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32 Potterow, EH8 9BT, 0131 662 9788, thepottingshededinburgh.com

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The Royal Dick Bar & Bistro 1 Summerhall, EH9 1 PL, 0845 874 3000, summerhall.co.uk/bar-cafe

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The Southern 22 South Clerk Street, EH8 9PR, 0131 662 8926, thesouthern.co.uk

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The Ventoux 2 Brougham Street, EH3 9JH, 0131 229 5066

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Official Gin Supporter of

Tours and tastings available every day during August. Visit the website for more details.

www.pickeringsgin.com

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 143

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144 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

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While Edinburgh’s West End may be marginally smaller than London’s, its commitment to theatrical endeavour is just as pronounced: this is where you’ll find the Royal Lyceum and the Traverse theatres (the latter home to far more than its fair share of five-star Fringe shows), plus the grand Usher Hall and the venerable Filmhouse cinema. All within spitting distance of each other. Predictably, a decent bar and restaurant culture has sprung up to serve theatregoers the length of Lothian Road, the West End’s main thoroughfare. You’ll also be able to find a nearby Odeon and a slightly further-afield Cineworld, should you desire a quick trip to the multiplex, as well as a scattered selection of some less salubrious adult establishments. Just off the north end of Lothian Road, standing shoulder-to-shoulder with the New Town, is the West End Village (centred around William and Stafford streets), a neat wee collection of independent shops and cafés that lean towards the artier end of the spectrum. The small-town vibe continues in Dean Village, a picturesque little spot just a short jaunt from the city centre, and an ideal area for a sunny afternoon stroll. It’s conveniently en route to the Scottish National Gallery of Modern Art, which hosts its own spectacular collections in addition to visiting exhibitions as part of the Edinburgh Art Festival. The remaining West End attractions are scattered across a pretty wide area, but are worth the trip. The Corn Exchange is the place to catch mid-level touring bands; Murrayfield Stadium is home to large-scale sporting events (and the occasional Rolling Stones-level stadium tour); and Edinburgh Zoo houses all manner of cute, cuddly and ferocious members of the animal kingdom – not least the world-famous parading penguins and a certain pair of monochrome bears. The newly instituted tramline rolls right through the West End on its way to the airport – it’s probably best not to ask the locals about them though, as you’ll no doubt receive an earful of grumbling along with any useful info. (Niki Boyle) Kin g's

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Key venues: (1) Book Festival, (2) Ghillie Dhu, (3) Royal Lyceum, Traverse Theatre, Usher Hall, (4) Scottish National Galleries of Modern Art

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Fresh Food:Festival Places

WEST END

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WEST END CITY GUIDE

SHOPPING

EATING

Arkangel & Felon

INEXPENSIVE

4 William Street, EH3 7NH, arkangelandfelon. com, 0131 226 4466

@ ;@67B7@67@F IA?7@^E 83E:;A@ 4AGF;CG7 43E76 ;@ F:7 /7EF @6 D=3@97> 7>A@ I3E 7EF34>;E:76 ;@ 4K 8AD?7D 8D77>3@57 EFK>;EF 3@6 BDABE 4GK7D +3D3: AE9DAH7 7E5D;4;@9 F:7;D EFA5= 3E ]75>75F;5 K7F I73D34>7^ F:7 7JF7@E;H7 3@6 EFK>;E: 5>AF:;@9 D3@97 ;E 3G9?7@F76 4K 439E <7I7>>7DK E53DH7E ;@F7D;AD ;F7?E 3@6 7H7@ I3>>B3B7DE

Helen Bateman 16 William Street, EH3 7NH, helenbateman.com, 0131 220 4495

7>7@ 3F7?3@ ;E 3 BABG>3D >36K 3?A@9 E:A7 >AH7DE ;@ 6;@4GD9: 7D ;@67B7@67@F E:A7 4D3@6 5A?4;@7E 3 D3@97 A8 GE78G> ]43E;5E^ \ F:AE7 E:A7E KAG^>> I3@F FA ;@H7EF ;@ 393;@ 3@6 393;@ \ I;F: ?AD7 7J5>GE;H7 >;?;F76 DG@E F:3F 5:3@97 735: E73EA@ ;@ 3 473GF;8G> EB75FDG? A8 5A>AGDE 834D;5E 3@6 F7JFGD7E ,:7 E:AB A@ /;>>;3? +FD77F 3>EA EFA5=E 3@ 3DD3K A8 439E E53DH7E 47>FE 3@6 <7I7>>7DK

Odyssey Boutique 39â&#x20AC;&#x201C;41 William Street, EH3 7LW, odysseyboutique.co.uk, 0131 220 2908

@ ;@67B7@67@F 4AGF;CG7 E7>>;@9 >;@97D;7 4K 4D3@6E ;@5>G6;@9 %;EE %3@63>3K D7K3 >7GD A8 @9>3@6 3@6 $3E5;H;AGE 3E I7>> 3E ?A@A5:DA?7 FDAB;53> 3@6 97A?7FD;5 EI;?I73D EFK>7E ,:7K 3>EA :3H7 3 87I EFD3B>7EE 435=>7EE G@67DI73D EA>GF;A@E A@ A887D 8AD I:7@ EG??7D 5>AF:7E 5D73F7 E3DFAD;3> 6;>7??3E

Paper Tiger 6a/8 Stafford Street, EH3 7AU, 0131 226 2390 and 53 Lothian Road, EH1 2DJ, 0131 228 2790, papertiger.ltd.uk

Timberyard

Burger NORTH AMERICAN 94a Fountainbridge, EH3 9QA, 0131 228 5367, burgeruk.co.uk | ÂŁ8 (lunch/dinner)

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CafĂŠ Modern One ARTS VENUES Scottish National Gallery of Modern Art One, 75 Belford Road, EH4 3DR, 0131 332 8600, heritageportfolio.co.uk | ÂŁ9 (lunch)

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CafĂŠ Modern Two

filmhousecinema.com | ÂŁ10 (lunch/dinner)

ARTS VENUES Scottish National Gallery of Modern Art Two, 73 Belford Road, EH4 3DS, 0131 624 6273, heritageportfolio.co.uk | ÂŁ13.50 (set lunch)

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Hendersonâ&#x20AC;&#x2122;s @ St Johnâ&#x20AC;&#x2122;s

Kampung Ali Malaysian Delight

CAFĂ&#x2030;S / VEGETARIAN St Johnâ&#x20AC;&#x2122;s Terrace, 3 Lothian Road, EH1 2EP, 0131 229 0212, hendersonsofedinburgh.co.uk/ st-johns.php | ÂŁ11.50 (lunch)

MALAYSIAN 97â&#x20AC;&#x201C;101 Fountainbridge, EH3 9QG, 0131 228 5069, kampungali.com | ÂŁ7.80 (set lunch) / ÂŁ14 (dinner)

'55GBK;@9 3@ 7JFD3AD6;@3DK EFA@7 H3G>F76 DAA? ;@ F:7 43E7?7@F A8 3 5:GD5: 7@67DEA@^E 3FFD35FE >A53>E 3@6 FAGD;EFE 3>;=7 I:A E>;B 6AI@ FA F:7 ]F7DD357 5A??G@;FK^ G@67D F:7 5:GD5: 8AD E3@5FG3DK 8DA? 5A@EB;5GAGE 5A??7D57 $G@5:F;?7E 3D7 A8F7@ 4GEK 4GF F:7 EB35;AGE 6;@;@9 DAA? D7F3;@E 3@ 3;D A8 B7357 3@6 ;@ EG??7D F:7 F7DD357 AGFE;67 ;E 3@ 7CG3>>K FD3@CG;> EBAF >3EE;5 7@67DEA@^E 6;E:7E 3D7 A@ A887D :7D7 53@F77@ EFK>7 EG5: 3E 8D;FF3F3 >3E39@7 EG4EF3@F;3> E3>36E 3@6 A8 5AGDE7 F:7 ?G5: >AH76 H797F3D;3@ :399;E

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Pippin

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30 Haymarket Terrace, EH12 5JZ, pippingifts. com, 0131 347 8657

52 Canoes

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Pulp Fiction Bookshop 43 Bread Street, EH3 9AH, pulp-books.co.uk, 0131 229 4444

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NORTH AMERICAN 13 Melville Place, EH3 7PR, 0131 226 4732 | ÂŁ15 (lunch/dinner)

(3DF EGD8 E:35= B3DF G@67D9DAG@6 6D;@=;@9 >3;D F:7 >AI 57;>;@9 3@6 677B D76 I3>>E A8 3@A7E 3D7 5AH7D76 I;F: 3@ 75>75F;5 3@6 7@F7DF3;@;@9 3DD3K A8 F:7 =;FE5: 3@6 5A>AGD8G> ,:7 5A5=F3;> >;EF ;E I7>> IADF: 3 >AA= I;F: ?3@K E:AI53E;@9 F:7 ?3EE;H7 E7>75F;A@ A8 B>GE DG?E /;F: >3F7 AB7@;@9 3@6 7@F7DF3;@?7@F E7H7@ @;9:FE 3 I77= ;@5>G6;@9 >;H7 ?GE;5 3@6 BG4 CG;LL7E F:7D7Ê >A36E FA F3=7 ;@ :7D7 4GF ;FÊ F:7 8AA6 F:3F EF73>E F:7 E:AI ;>>76 3E ](A>K%7J; 3@3^ ;FÊ 3 8G@=K 8GE;A@ A8 (A>K@7E;3@ %7J;53@ 3@6 ?7D;53@ 6;E:7E 3@6 ;@5>G67E 9D73F H3>G7 E:3D;@9 B>3FF7DE @35:AE 4GD97DE 3@6 4GDD;FAE

Filmhouse CafĂŠ Bar ARTS VENUES 88 Lothian Road, EH3 9BZ, 0131 229 5932,

A Culinary Experience to Remember www.kasturi-ed.co.uk highly rated on tripadvisor

Illegal Jackâ&#x20AC;&#x2122;s MEXICAN 113â&#x20AC;&#x201C;117 Lothian Road, EH3 9AN, 0131 622 7499, illegaljacks.co.uk | ÂŁ11 (lunch/dinner)

+;?B>7 6P5AD 3@6 I7>> EB3576 F34>7E 5D73F7 3

Loudonâ&#x20AC;&#x2122;s CafĂŠ & Bakery CAFĂ&#x2030;S Lochrin Square, 94b Fountainbridge, EH3 9QA,

near west end of princes street ideal for shows at the assembly rooms & book festival perfect for shows at the assembly rooms

35-37 shandwick place, edinburgh, eh2 4rg â&#x20AC;˘ 0131 228 2441 list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 145

Fresh Food:Festival Places

CITY GUIDE WEST END

0131 228 9774, loudons-cafe.co.uk | Â£9 (lunch)

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Lovecrumbs CAFÃ&#x2030;S 155 West Port, EH3 9DP, 0131 629 0626, lovecrumbs.co.uk | Closed Sun. Â£5 (cake and coffee)

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Milk CAFÃ&#x2030;S 232 Morrison Street, EH3 8EA, 0131 629 6022, cafemilk.co.uk | Â£6 (lunch)

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MID-PRICE The Atelier SCOTTISH 159â&#x20AC;&#x201C;161 Morrison Street, EH3 8AG, 0131 629 1344, theatelierrestaurant.co.uk | Â£11.90 (set lunch) / Â£23 (dinner)

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China Town CHINESE 3 Atholl Place, EH3 8HP, 0131 228 3333, chinatownedinburgh.com | Â£9.30 (set lunch) / Â£20 (dinner)

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Chop Chop CHINESE 248 Morrison Street, EH3 8DT, 0131 221 1155, chop-chop.co.uk | Â£16 (lunch/dinner)

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Edinburgh Larder Bistro BISTROS & BRASSERIES 1a Alva Street, EH2 4PH, 0131 225 4599, edinburghlarder.co.uk | Closed Mon. Â£12 (set lunch) / Â£15 (set dinner)

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Kasturi INDIAN 35â&#x20AC;&#x201C;37 Shandwick Place, EH2 4RG, 0131 228 2441, kasturi-ed.co.uk | Â£8.95 (set lunch) / Â£12.50 (dinner)

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Kyloe Restaurant & Grill SCOTTISH The Rutland Hotel, 1â&#x20AC;&#x201C;3 Rutland Street, EH1 2AE, 0131 229 3402, kyloerestaurant.com | Â£12 (set lunch) / Â£29 (dinner)

Lâ&#x20AC;&#x2122;Escargot Blanc FRENCH 17 Queensferry Street, EH2 4QW, 0131 226 1890, lescargotblanc.co.uk | Â£24 (dinner)

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First Coast BISTROS & BRASSERIES 97â&#x20AC;&#x201C;101 Dalry Road, EH11 2AB, 0131 313 4404, first-coast.co.uk | Closed Sun. Â£12.95 (set lunch) / Â£17.50 (dinner)

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Galvin Brasserie de Luxe BISTROS & BRASSERIES Caledonian Hotel, Princes Street, EH1 2AB, 0131 222 8988, galvinbrasseriedeluxe.com | Â£16.50 (set lunch) / Â£26 (dinner)

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Kanpai JAPANESE 8â&#x20AC;&#x201C;10 Grindlay Street, EH3 9AS, 0131 228 1602, kanpaisushi.co.uk | Closed Sun/Mon. Â£15 (lunch) / Â£25 (dinner)

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146 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

OFF THE TOURIST TRAIL

If it all gets a bit much on the Royal Mile and youâ&#x20AC;&#x2122;ve had your fill of serious history and culture, Edinburgh still has a wealth of quirky places that even some locals donâ&#x20AC;&#x2122;t know about. Kirstyn Smith rounds up the secret gems that might not make the guidebooks, but will liven up your summer

Jupiter Artland Bonnington House Steadings, Wilkieston, EH27 8BB, jupiterartland.org, 01506 889900. Â£8.50 (Â£4.50â&#x20AC;&#x201C;Â£6; under 6s and disabled badge holders free; family Â£23.50). Thuâ&#x20AC;&#x201C;Sun 10amâ&#x20AC;&#x201C;5pm.

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Museum of Scotland Roof Terrace Museum of Scotland, Chambers Street, EH1 1JF, nms.ac.uk, 0300 123 6789. Free. Daily 10amâ&#x20AC;&#x201C;5pm.

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The Scotsman Steps North Bridge/Market Street, fruitmarket. co.uk/exhibitions/scotsman-steps. Free.

*7H3?B76 ;@

3 ?7D7 K73DE 38F7D

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Water of Leith Visitor Centre, 24 Lanark Road, 0131 455 7367, waterofleith.org.uk

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Royal Observatory Visitor Centre Blackford Hill, EH9 3HJ, roe.ac.uk, 0131 668 8404. Pre-booked visits only.

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(' " % ) ' % " #$' #"& ) ! ' & & #*" #" #(% , $%# '#% & +#(" $ #$ * #! ("' $!

Open 7 days a week for lunch & dinner

32 Grindlay Street Edinburgh EH3 9AP Opposite the Lyceum and across the road from the Sheraton Hotel

www.jasminechinese.co.uk

0131 229 5757

#(" '% ' " (%

VENUE 127

3d/2d presents the Edinburgh

WEST END FAIR Scotlandâ&#x20AC;&#x2122;s largest contemporary, open air

Art, Craft and Design Fair Find the West End Fair at: St Johns, corner of Princes St and Lothian Rd, EH2 4BJ Over 100 makers, artists and designers selling only their own work, new faces every week - including textiles, pottery, ceramics, printmaking, jewellery, silversmithing, watercolours, toymaking, leatherwork, knitwear, patchwork, feltwork, clothing, fashion accessories, photography, bookbinding, woodturning, carving, glassware and furniture.

Open every day: 11am to 6pm www.3d2d.co.uk

0131 661 6600

www.westendfair.co.uk

Sat 2 to Sun 24 August 2014 list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 147

Fresh Food:Festival Places

CITY GUIDE WEST END

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La Pâ&#x20AC;&#x2122;tite Folie FRENCH Tudor House, 9 Randolph Place, EH3 7TE, 0131 225 8678, laptitefolie.co.uk | ÂŁ11.50 (set lunch) / ÂŁ21 (dinner)

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Wing Sing Inn CHINESE 147â&#x20AC;&#x201C;149 Dundee Street, EH11 1BP, 0131 228 6668 | ÂŁ12.50 (lunch/dinner)

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HIGH END Castle Terrace SCOTTISH 33/35 Castle Terrace, EH1 2EL, 0131 229 1222,

castleterracerestaurant.com | Closed Sun/Mon. ÂŁ28.50 (set lunch) / ÂŁ46 (dinner)

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The Pompadour by Galvin FRENCH Caledonian Hotel, Princes Street, EH1 2AB, 0131 222 8777, thepompadourbygalvin.com/ | ÂŁ58 (set dinner)

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Pho Vietnam House VIETNAMESE 1â&#x20AC;&#x201C;3 Grove Street, EH3 8AF, 0131 228 3383, vietnamhousescotland.com | ÂŁ10 (lunch) / ÂŁ17 (dinner)

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A Room in the West End

Shebeen AFRICAN 8 Morrison Street, EH3 8BJ, 0131 629 0261, shebeenbar.co.uk | ÂŁ23 (lunch/dinner)

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Sushiya JAPANESE 19 Dalry Road, EH11 2BQ, 0131 313 3222, sushiya. co.uk | Closed Mon. ÂŁ14 (lunch) / ÂŁ20 (dinner)

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Timberyard SCOTTISH 10 Lady Lawson Street, EH3 9DS, 0131 221 1222, timberyard.co | Closed Sun/Mon. ÂŁ14 (set lunch) / ÂŁ26 (dinner)

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DRINKING The Hanging Bat 133 Lothian Road, EH3 9AB, 0131 229 0759, thehangingbat.com

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Heads & Tales 1a Rutland Place, EH1 2AD, 0131 229 3402, headsandtalesbar.com

LOCATION, LOCATION, DELECTATION

SCOTTISH 26 William Street, EH3 7NH, 0131 226 1036, aroomin.co.uk | ÂŁ18 (dinner)

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The Huxley 1â&#x20AC;&#x201C;3 Rutland Street, EH1 2AE, 0131 229 3402, thehuxley.co.uk

CafĂŠ Modern One & Two

The Tower

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Pommery Champagne Cafe Bar

Lebowskis 18 Morrison Street, EH3 8BJ, 0131 466 1779, lebowskis.co.uk

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The Dome

Milk at Collective

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VENUES WITH A SENSE OF PLACE

CafĂŠ Portrait

148 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

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Red Squirrel 21 Lothian Road, EH1 2DJ, 0131 229 9933, redsquirreledinburgh.co.uk

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CITY GUIDE BROUGHTON STREET ADVERTISING FEATURE

BROUGHTON STREET

This single street punches above its weight in Edinburgh’s independent shopping, eating and drinking scene. From quirky boutiques to some of the city’s coolest bars and restaurants, Broughton Street is a refreshing break from the festival scrum

LIFE STORY

THE BAKEHOUSE

53 London Street, EH3 6LX, 0131 629 9699, lifestoryshop.com

32c Broughton Street, EH1 3SB, 0131 557 1157, thebakehousecompany.co.uk

Passionate about good design and inspired by the cool, quirky and creative, Life Story brings an exciting new homestore to Edinburgh’s East End. Home to a host of designers and creatives from across the globe, at Life Story you will find an eclectic collection of lifestyle products, art, lighting, homewares, furniture and taxidermy. You can also buy online for delivery within the UK.

Fuel your festival with the Bakehouse’s first-rate coffee and homemade, locally sourced food. It’s open from breakfast time and is the perfect base from which to plan your day. Everything is available to take away too, so you can eat well while on the move between events.

CAFE PICCANTE

PICKLES

19 Broughton Street, EH1 3JU, 0131 478 7884, cafepiccante.com

56A Broughton Street, EH1 3SA, 0131 557 5005, getpickled.co.uk

Bringing its own brand of deep-fried disco to the throngs of revellers that descend on Broughton Street after dark, Cafe Piccante has great fish and chips, pizzas and, crucially, a late licence allowing them to serve beer. Not for the faint of heart, the unbelievably decadent deep-fried Mars Bars have become a late-night festival favourite.

Combining the attributes of a Parisian wine bar and a cosy country pub, Pickles is perfectly in keeping with the distinctive character of the neighbourhood. With a great range of wines, bottled beers and generous sharing platters, this charming and friendly wee haunt will not disappoint.

BONSAI

OUTHOUSE

46 Richmond Street, EH1 3RH, 0131 668 3847, bonsaibarbistro.co.uk

12a Broughton Street Lane, EH1 3LY, 0131 557 6668, outhouse-edinburgh. co.uk

The latest addition to Edinburgh’s burgeoning Japanese food scene is the funkiest yet. Broughton Street hipsters chow down on a fantastic variety of maki, nigiri and sashimi, as well as gaijin rolls and hand rolls. If sushi’s not your bag, there are also plenty of hot favourites available – teppanyaki, teriyaki and delicious plump gyoza dumplings. Happy days.

The Outhouse is a unique and welcoming bar down Broughton Street Lane. With an upstairs venue space, large beer garden and spacious downstairs bar, there is something for everyone – worldwide beers, wines, cocktails, local artist exhibitions and, on the right evenings, live music upstairs. It’s a hidden gem the locals want to keep to themselves!

REAL FOODS

CURIOUSER & CURIOUSER

37 Broughton Street, EH1 3JU, 0131 557 1911, realfoods.co.uk

93 Broughton Street, EH1 3RZ, 0131 556 1866, curiouserandcuriouser.com

Real Foods has all the vegetarian, free-from, Fairtrade and organic food and drink you need to see you through this year’s festival fun. Edinburgh’s original health food shop is celebrating the 40th anniversary of the opening of their first shop in Edinburgh in 1974 – today they stock over 10,000 products and ship worldwide.

150 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

A beautiful shop run by friendly coowners Laura and Ian. They sell all sorts of design-led gifts and homewares, with a particular eye for pattern and print. Inside you’ll find striking and unusual pieces from local, national and international printmakers. Other favourites include Scandinavian design, vintage ceramics and beautiful laser-cut jewellery. It’s well worth a visit.

LEITH & BROUGHTON STREET CITY GUIDE

SHOPPING

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150 Easter Road, EH7 5RL, brabohag.com, 07808 808033

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The Catâ&#x20AC;&#x2122;s Miaou 36 Elm Row, EH7 4AH, thecatsmiaou.co.uk, 0131 557 1277

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Concrete Wardrobe 50a Broughton Street, EH1 3SA, concretewardrobe.com, 0131 558 7130

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Crombies of Edinburgh 97 Broughton Street, EH1 3RZ, sausages.co.uk, 0131 556 7643

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Curiouser & Curiouser 93 Broughton Street, EH1 3RZ, curiouserandcuriouser.com, 0131 556 1866

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The Dragonfly 111a Broughton Street, EH1 3RZ, thedragonflygifts.co.uk, 0131 629 4246

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Elvis Shakespeare 347 Leith Walk, EH6 8SD, elvisshakespeare.com, 0131 561 1363

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Flux 55 Bernard Street, EH6 6SL, get2flux.co.uk, 0131 554 4075

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Indie Chic Boutique 111 Broughton Street, EH1 3RZ, indiechicboutique. co.uk, 0131 558 1757

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54 Broughton Street, EH1 3SA, joey-d.co.uk, 0131 557 6672

Life Story 53 London Street, EH3 6LX, lifestoryshop.com, 0131 629 9699

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Moleta Munro 43 London Street, EH3 6LX, moletamunro.com, 0131 557 4800

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EATING ON THE RUN

Real Foods 37 Broughton Street, EH1 3JU, 0131 557 1911, realfoods.co.uk

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Valvona & Crolla CaffĂ¨ Bar 19 Elm Row, Leith Walk, EH7 4AA, valvonacrolla. co.uk, 0131 556 6066.

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Vinyl Villains 5 Elm Row, EH7 4AA, vinylvillains.co.uk, 0131 558 1170

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EATING INEXPENSIVE

When thereâ&#x20AC;&#x2122;s only enough time for a quick bite on the hoof, Edinburghâ&#x20AC;&#x2122;s burgeoning street-food scene offers plenty of choice. Ian Hogg rounds up some of the best options Operating from a police box on Middle Meadow Walk, Tupiniquim (tupiniquim.co.uk) positively glows with Brazilian sunshine, offering carefully composed and generously filled sweet and savoury gluten-free crĂŞpes as well as a Saturday-only black bean feijoada, laden with smoked pork rib and bacon. For a touch of porcine pleasure, Victoria Streetâ&#x20AC;&#x2122;s Oink (oinkhogroast.co.uk) offers slow-cooked hog roast rolls from piglet sized to full-on grunter, with lashings of sage and onion stuffing, apple sauce and crackling. Its snout pokes out again at Saturdayâ&#x20AC;&#x2122;s Castle Terrace farmersâ&#x20AC;&#x2122; market, alongside Perthshireâ&#x20AC;&#x2122;s famed Puddledub buffalo burgers (thebuffalofarm.co.uk) and relative newcomer Nusou (wearenusou.com) with their gourmet noodles in aromatic broth. BBQ-bicycle On The Roll (ontheroll.co.uk) leads the peloton into George Square with its freshly grilled bratwurst sausages imported from the German Munsterland region, teamed with homemade spicy sauce, sauerkraut and fried onions. Across town, inspired by India â&#x20AC;&#x2122;s street-food culture, Bruntsfieldâ&#x20AC;&#x2122;s Bollywood Coffee Box (facebook.com/BollywoodTheCoffeeBox) offers a rapidly changing seasonal menu stretching from comforting rasam soup and spicy vegetarian samosas to chickpea and chicken curries â&#x20AC;&#x201C; all with spice tailored to your taste. Forrest Roadâ&#x20AC;&#x2122;s Union of Genius (unionofgenius.com) showcases a daily choice of six seasonal soups from their 80-strong recipe repertoire with tagine-spiced chickpea or butternut squash and ginger typically big on flavour and invariably vegan friendly, gluten and dairyfree. Back in Festival heartland, Bristo Square â&#x20AC;&#x2122;s Udderbelly and George Squareâ&#x20AC;&#x2122;s Assembly link over a dozen foodie stalls and the occasional cafĂŠ pop-up, all encircling acres of picnic-friendly tables and artificial grass.

Artisan Roast CAFĂ&#x2030;S 57 Broughton Street, EH1 3RJ, 07590 590667, artisanroast.co.uk | ÂŁ4.50 (coffee and cake)

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The Bakehouse Co. CAFĂ&#x2030;S 32c Broughton Street, EH1 3SB, 0131 557 1157, thebakehousecompany.co.uk | ÂŁ4.50 (set lunch)

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The Basement Bar and Restaurant BARS & PUBS 10â&#x20AC;&#x201C;12a Broughton Street, EH1 3RH, 0131 557

0097, basement-bar-edinburgh.co.uk | ÂŁ14 (lunch/dinner)

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Broughton Delicatessen CAFĂ&#x2030;S 7 Barony Street, EH3 6PD, 0131 558 7111, broughton-deli.co.uk |ÂŁ10 (lunch/dinner)

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Cafe Piccante TAKEAWAY 19 Broughton Street, EH1 3JU, 0131 478 7884, cafepiccante.com

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The Drill Hall CafĂŠ ARTS VENUES & ATTRACTIONS 34 Dalmeny Street, EH6 8RG, 0131 555 7100, outoftheblue.org.uk | Closed Sun. ÂŁ8 (lunch)

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Los Cardos MEXICAN 281 Leith Walk, EH6 8PD, 0131 555 6619,

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 151

Fresh Food:Festival Places

CITY GUIDE LEITH & BROUGHTON STREET

loscardos.co.uk | ÂŁ8.50 (lunch/dinner)

bijoubistro.co.uk | ÂŁ20 (lunch/dinner)

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The Manna House CAFĂ&#x2030;S 22â&#x20AC;&#x201C;24 Easter Road, EH7 5RG, 0131 652 2349, themannahousebakery.co.uk | ÂŁ7 (lunch)

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Mimiâ&#x20AC;&#x2122;s Bakehouse CAFĂ&#x2030;S 63 The Shore, EH6 6RA, 0131 555 5908, mimisbakehouse.com | ÂŁ12 (lunch)

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Origano ITALIAN 277 Leith Walk, EH6 8PD, 0131 554 6539, origano-leith.co.uk | ÂŁ15 (lunch/dinner)

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Punjabi Junction INDIAN 122â&#x20AC;&#x201C;124 Leith Walk, EH6 5DT, 07865 895022, punjabijunction.org/ | Closed Sun. ÂŁ5 (set lunch) / ÂŁ11 (dinner)

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The Water of Leith CafĂŠ Bistro CAFĂ&#x2030;S 52 Coburg Street, EH6 6HJ, 0131 555 2613, thewaterofleithcafebistro.co.uk | Closed Mon. ÂŁ10.95 (set lunch)

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MID-PRICE Bijou BISTROS & BRASSERIES 2 Restalrig Road, EH6 8BN, 0131 538 0664,

Bodega MEXICAN 62 Elm Row, Leith Walk, EH7 4AQ, 0131 556 7930, ilovebodega.com | ÂŁ17 (lunch/dinner)

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Bonsai Bar Bistro JAPANESE 14 Broughton Street, EH1 3RH, 0131 557 5093, bonsaibarbistro.co.uk | ÂŁ4.90 (set lunch) / ÂŁ17 (dinner)

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Credo BISTROS & BRASSERIES 46 Queen Charlotte Street, EH6 7EX, 0131 629 1411, credorestaurant.co.uk | ÂŁ11.50 (set lunch/ dinner)

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Khushiâ&#x20AC;&#x2122;s INDIAN 10 Antigua Street, EH1 3NH, 0131 558 1947, khushis.com | ÂŁ5.95 (set lunch) / ÂŁ20 (dinner)

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Malmaison Brasserie SCOTTISH 1 Tower Place, EH6 7BZ, 0131 468 5000, malmaison.com | ÂŁ23 (lunch/dinner)

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Mithas INDIAN 7 Dock Place, EH6 6LU, 0131 554 0008, mithas. co.uk/ | Closed Mon. ÂŁ12 (lunch) / ÂŁ26 (dinner)

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Lâ&#x20AC;&#x2122;Escargot Bleu

Pomegranate

FRENCH 56 Broughton Street, EH1 3SA, 0131 557 1600, lescargotbleu.co.uk | ÂŁ12.90 (set lunch) / ÂŁ24 (dinner)

MIDDLE EAST 1 Antigua Street, EH1 3NH, 0131 556 8337, pomegranatesrestaurant.com | ÂŁ7.50 (set lunch)

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Fishers Bistro FISH 1 The Shore, EH6 6QW, 0131 554 5666, fishersbistros.co.uk | ÂŁ13 (set lunch) / ÂŁ25 (dinner)

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152 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

Bodega

/ ÂŁ16 (dinner)

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Port of Siam THAI 1 Barony Street, EH3 6PD, 0131 478 7720, portofsiam.com | ÂŁ9.95 (set lunch) / ÂŁ21 (dinner)

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Rivage INDIAN 126â&#x20AC;&#x201C;130 Easter Road, EH7 5RJ, 0131 661 6888, rivagerestaurant.co.uk | Closed Tue. ÂŁ8.95 (set lunch) / ÂŁ18 (dinner)

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Valvona & Crolla CaffĂ¨ Bar CAFĂ&#x2030;S 19 Elm Row, Leith Walk, EH7 4AA, 0131 556 6066, valvonacrolla.co.uk | ÂŁ25 (lunch)

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LEITH ADVERTISING FEATURE CITY GUIDE

LEITH

Destination bars and Michelin-starred restaurants sit shoulder-to-shoulder with eclectic boutiques and cosy neighbourhood bistros, ensuring the popularity of this friendly and unpretentious waterfront borough with locals and visitors alike

FLUX 55 Bernard Street, EH6 6SL, 0131 554 4075, get2flux.co.uk A trip to Leith would not be complete without visiting this Aladdin’s cave. Specialising in local artistic talent and funky, imaginative gifts, it is a favourite among locals and visitors alike. Stags’ heads, tea towels with a local twist and designer jewellery rub shoulders with some of the most helpful staff in town. They also have a cute second shop in North Berwick high street.

COBURG HOUSE ART STUDIOS & GALLERY 15 Coburg Street, EH6 6ET, 0131 553 2266, coburghouseartstudios. wordpress.com Seventy contemporary artists/makers open their studios over one weekend (Sat 2 & Sun 3 Aug, 11am–6pm) showcasing contemporary paintings, ceramics, jewellery, sign writing, textiles, weaving, metalwork and printmaking. Followed by a Festival exhibition by the artists and makers (Wed–Sun 6–24 Aug 11am–6pm).

ROSELEAF BAR CAFE

LOS CARDOS

23–24 Sandport Place, EH6 6EW, 0131 476 5268, roseleaf.co.uk

281 Leith Walk, EH6 8PD, 0131 555 6619, loscardos.co.uk

A must do for any visitor to Edinburgh is Leith’s Roseleaf bar cafe. Serving up wholesome brunchies, lunchies, dindins and munchies from 10am–10pm. A delightful drinks list includes freshly made fruit juices, real ales, ‘barry’ beers, cracking coffee, loose leaf teas and Pot-Tails (cocktails in teapots!) which are served right through till 1am every night. It can get busy so booking in advance is recommended.

Award-winning Los Cardos takeaway serves Mexican-inspired street food that is fast, fresh, healthy and flavoursome. A choice of five freshly made salsas and guacamole complement the grilled meats and veggie options that go into their burritos, tacos and quesadillas. Home to the original haggis burrito, including a vegetarian option, there’s something here for just about everyone.

MALMAISON

TAPA

1 Tower Place, EH6 7BZ, 0844 693 0652

19 Shore Place, EH6 6SW, 0131 476 6776, tapaedinburgh.co.uk

Find out what weekends are really about with the famous Sunday Lunch at Malmaison. With unlimited hors d’oeuvres from ‘The Chef’s Table’, delicious main courses, generous desserts and an indulgent drinks menu of bloody marys and cocktails, there’s a reason why Malmaison is renowned for being the biggest and best lunch in town.

Visiting Tapa, just behind the Shore, is rather like jumping in a DeLorean and revisiting holiday memories of those brilliant Spanish back-street bars and restaurants, with their noise, bustle and fresh local produce. Even with the temperamental Scottish weather, you can savour Spanish flavours long after your tan’s gone.

CREDO

BIJOU

46 Queen Charlotte Street, EH6 7EX, 0131 629 1411, credorestaurant.co.uk

2 Restalrig Road, EH6 8BN, 0131 538 0664, bijoubistro.co.uk

At Credo, good value does not mean compromising on quality. In fact, classic bistro favourites are handled with aplomb in this new addition to Leith’s dining scene. With the concept of sharing firmly established at its heart, Credo offers an exciting menu of sharing plates, main courses (seven different options, at least two vegetarian) followed by desserts to share or fine Scottish cheeses.

Bijou is a bustling cafe and restaurant in the heart of the Leith Links community. Pop in for a quick breakfast or pick up a roll for lunch. In the evening, a convivial atmosphere accompanies the dinner menu. The staff are some of the warmest, funniest and most welcoming in town. Call in any time of day for a cheeky glass of wine and check your emails on their free wireless internet.

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 153

Fresh Food:Festival Places

CITY GUIDE LEITH & BROUGHTON STREET

Smoke Stack NORTH AMERICAN 53â&#x20AC;&#x201C;55 Broughton Street, EH1 3RJ, 0131 556 6032, smokestack.org.uk | ÂŁ10.45 (set lunch) / ÂŁ18 (dinner)

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Tapa SPANISH 19 Shore Place, EH6 6SW, 0131 476 6776, tapaedinburgh.co.uk | ÂŁ10 (lunch) / ÂŁ16 (dinner)

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HIGH END The Kitchin SCOTTISH 78 Commercial Quay, EH6 6LX, 0131 555 1755, thekitchin.com | Closed Sun/Mon. ÂŁ28.50 (set lunch) / ÂŁ51 (dinner)

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Restaurant Martin Wishart FRENCH 54 The Shore, EH6 6RA, 0131 553 3557, martinwishart.co.uk | Closed Sun/Mon. ÂŁ28.50 (set lunch) / ÂŁ75 (set dinner)

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DRINKING Boda Bar 229 Leith Walk, EH6 8NY, 0131 553 5900, bodabar.com

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Bond No. 9 84 Commercial Street, EH6 6LX, 0131 555 5578, bondno9.co.uk

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Joseph Pearceâ&#x20AC;&#x2122;s 23 Elm Row, EH7 4AA, 0131 556 4140, bodabar.com

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CLUBBING

The Kingâ&#x20AC;&#x2122;s Wark 36 The Shore, EH6 6QU, 0131 554 9260, thekingswark.com

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Nobles Bar 44a Constitution Street, Leith, EH6 6RS, 0131 629 7215, noblesbarleith.co.uk

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The Outhouse 12a Broughton Street Lane, EH1 3LY, 0131 557 6668, outhouse-edinburgh.co.uk

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Pickles 56a Broughton Street, EH1 3SA, 0131 557 5005, getpickled.co.uk

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The Roseleaf 23â&#x20AC;&#x201C;24 Sandport Place, EH6 6EW, 0131 476 5268, roseleaf.co.uk

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Victoria 265 Leith Walk, EH6 8PD, 0131 555 1638, bodabar.com

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The Vintage 60 Henderson Street, EH6 6DE, 0131 563 5293, thevintageleith.co.uk

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Woodland Creatures 260â&#x20AC;&#x201C;262 Leith Walk, EH6 5EL, 0131 629 5509

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154 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

BEAT THIS

During the (hopefully warm, dry) August nights, Edinburghâ&#x20AC;&#x2122;s club scene buzzes with late licences, festival after-shows and impromptu parties. David Pollock picks out some of the best of the club nights and venues For many visitors to Edinburgh, the club scene in August revolves around a bunch of lively but hardly challenging party DJs playing the late-night venue circuit, whether thatâ&#x20AC;&#x2122;s in a Spiegeltent or a basement bar. For many others, the cityâ&#x20AC;&#x2122;s club scene begins and ends with the extensive range of commercial clubs dotted along George Street and the surrounding area. Yet for those whose appreciation of culture extends to knowing what separates a good DJ from a pub-disco resident, August is the month when Edinburghâ&#x20AC;&#x2122;s club scene is at its most lively. Thereâ&#x20AC;&#x2122;s little doubt that the most consistently good-quality and wellprogrammed club venue in Edinburgh year round remains the compact, sweaty and brilliantly atmospheric Sneaky Peteâ&#x20AC;&#x2122;s on the Cowgate, which can feel like the party to end all parties even with just a double-figure crowd. This year, as ever, theyâ&#x20AC;&#x2122;ve made some excellent bookings, for example, the double bill of Erol Alkanâ&#x20AC;&#x2122;s Phantasy signees Ghost Culture and Deep Shit, the pairing of Foalsâ&#x20AC;&#x2122; Edwin Congreave and Friendly Firesâ&#x20AC;&#x2122; Jack Savidge (at In Deep, Fri 8 Aug), Prosumer (at Bixon, Fri 22 Aug) and Drumtalk (at Definition, Sat 23 Aug). There are also a number of high-profile one-off events happening around other venues which feature big-name guests, including the appearance of Ben Klock, Berlinâ&#x20AC;&#x2122;s prolific live DJ and techno veteran of Berghain and Ostgut Ton, playing a four-hour set at a joint Pulse and Karnival event (Liquid Room, Sat 2 Aug). There will be a night of techno and tech house at the Perc Trax label party (Studio 24, Fri 22 Aug), featuring label boss Perc alongside Truss, Forward Strategy Group and residents, while the regular London and Edinburgh-based Nightfilm date once more welcomes Nightfilm head and nu-disco aficionado Mighty Mouse alongside newcomer Le Visiteur (Cabaret Voltaire, Sat 30 Aug). Also closing the Fringe in pretty spectacular style will be the ever-reliable Musika, who will be hosting a DirtyBird label party featuring Claude VonStroke and Justin Martin (Liquid Room, Sat 23 Aug). All of the above venues feature among the cityâ&#x20AC;&#x2122;s best and their other resident events are well worth checking out while youâ&#x20AC;&#x2122;re in Edinburgh, as well as the credible indie roster at Electric Circus on Market Street (who are running a Wednesday night northern soul club during August) and the more DIY Friday and Saturday night clubs in the Wee Red Bar at the cityâ&#x20AC;&#x2122;s College of Art.

CLUBBING & LGBT CITY GUIDE

Cabaret Voltaire

Lola Lo

36â&#x20AC;&#x201C;38 Blair Street, Old Town, thecabaretvoltaire.com, 0131 247 4704

43b Frederick Street, New Town, lolaloedinburgh.com, 0131 226 2224

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Castle Clvb

125b George Street, New Town, luluedinburgh.co.uk, 0131 225 5005

3 Queensferry Lane, West End, castleclvb. com, 0131 467 7215

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The Caves Niddry Street South, Old Town, thecavesedinburgh.com, 0131 557 8989

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Opal Lounge 51 George Street, New Town, opallounge. co.uk, 0131 226 2275

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Opium 71 Cowgate, Old Town, opiumedinburgh. co.uk, 0131 225 8382

Cav

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3 West Tollcross, Southside, thecav.co.uk, 0131 228 3252

Silk

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28 Kingâ&#x20AC;&#x2122;s Stables Road, Old Town, silknightclub.co.uk, 0131 229 9433

Citrus Club

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40â&#x20AC;&#x201C;42 Grindlay Street, West End, citrusclub. co.uk, 0131 622 7086

Sneaky Peteâ&#x20AC;&#x2122;s

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City: Edinburgh 1a Market Street, Old Town, cityedinburgh. co.uk, 0131 226 9560

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Club Tropicana 23 Lothian Road, West End, tropicanaedinburgh.com, 0131 229 9197

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Electric Circus 36â&#x20AC;&#x201C;39 Market Street, Old Town, theelectriccircus.biz, 0131 226 4224

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Espionage 4 India Buildings, Victoria Street, Old Town, espionage007.co.uk, 0131 477 7007

73 Cowgate, Old Town, sneakypetes.co.uk, 0131 225 1757

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Studio 24 24â&#x20AC;&#x201C;26 Calton Road, Old Town, studio24.me, 0131 558 3758

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Wee Red Bar Edinburgh College of Art, Lauriston Place, Southside, weeredbar.co.uk, 0131 229 1442

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Henryâ&#x20AC;&#x2122;s Cellar Bar 8â&#x20AC;&#x201C;16a Morrison Street, West End, theraft. org.uk, 0131 629 4101

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The Hive 15â&#x20AC;&#x201C;17 Niddry Street, Old Town, clubhive. co.uk, 0131 556 0444

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The Liquid Room & The Annexe 9c Victoria Street, Old Town, liquidroom. com, 0131 225 2564

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LGBT

â&#x20AC;&#x2DC;AUGUST IS WHEN EDINBURGHâ&#x20AC;&#x2122;S CLUB SCENE IS AT ITS MOST LIVELYâ&#x20AC;&#x2122;

OUT AND ABOUT Whether itâ&#x20AC;&#x2122;s dancing your cares away or just a quiet pint with friends â&#x20AC;&#x201C; whatever youâ&#x20AC;&#x2122;re in the mood for, the Edinburgh gay scene has something for you. Kaite Welsh explores the cityâ&#x20AC;&#x2122;s array of queer delights Edinburghâ&#x20AC;&#x2122;s gay scene converges at the top of Leith Walk, where the cityâ&#x20AC;&#x2122;s most infamous gay club, CC Blooms (23â&#x20AC;&#x201C;24 Greenside Lane, Leith Walk EH1 3AA, 0131 556 9331) has had a bit of a revamp in recent years. A club so gay it was named after Bette Midlerâ&#x20AC;&#x2122;s character in Beaches, what was once Edinburghâ&#x20AC;&#x2122;s favourite disco dive is now an altogether classier joint, offering lunch and pre-theatre menus as well as an impressive range of cocktails. But donâ&#x20AC;&#x2122;t worry â&#x20AC;&#x201C; at the weekend it reverts to its roots, where you can dance your cares away on a floor sticky with gin, glitter and bad decisions. If you want camp without breaking the bank, Planet (6 Baxters Place, Leith Walk, EH1 3AF, 0131 556 5551) is just a short stumble awayfrom CCâ&#x20AC;&#x2122;s. With cheap drinks on Monday nights and the campest pub quiz this side of Butlins, itâ&#x20AC;&#x2122;s the pre-club favourite you canâ&#x20AC;&#x2122;t quite bring yourself to leave. For a cosier evening, head for The Regent (2 Montrose Terrace, EH7 5DL, 0131 661 8198). Pitched as Edinburghâ&#x20AC;&#x2122;s Gay Real Ale Pub, itâ&#x20AC;&#x2122;s familyfriendly with pub grub and a good selection of beers. The Street (2 Picardy Place, EH1 3JT, 0131 556 4272) is laid-back during the day, with bar snacks and coffee plus huge windows that are ideal for peoplewatching. In the evening, the

labyrinthine basement turns into a pretty raucous club. If Leith Walk isnâ&#x20AC;&#x2122;t your scene then hop in a cab for a night on the tiles with a less cheesy feel. The Georgian facade of the New Town Bar (26b Dublin Street, EH3 6NN, 0131 538 7775) hides a subterranean dancefloor with a welcome 2am licence on the weekend. It may divide opinion but itâ&#x20AC;&#x2122;s also a good spot for a quick after-work drink or three. Tucked away just off Princes Street is one of Edinburghâ&#x20AC;&#x2122;s best-kept secrets: The Voodoo Rooms (19a West Register Street, EH2 2AA, 0131 556 7060). Along with two bars and a dining room decorated in opulent Victorian style, the ballroom is one of Edinburghâ&#x20AC;&#x2122;s hottest cabaret venues and the speakeasy bar is the place to go for a night of discreet decadence. For something more underground, Dive! (dive-party. org.uk) is a self-branded â&#x20AC;&#x2DC;eclectic queer partyâ&#x20AC;&#x2122; blending spoken word, live music and comedy with a filthy disco to finish. August will see them popping up at various guest spots around town â&#x20AC;&#x201C; check out the website for more details. If youâ&#x20AC;&#x2122;re new in town or just looking for a change from the bar scene, the LGBT Centre for Health & Wellbeing (9 Howe Street, EH3 6TE, lgbthealth. org.uk) offers everything from book groups and film nights to family events, film screenings and counselling sessions. And if you are going out on the scene, remember not to overdo it â&#x20AC;&#x201C; whatâ&#x20AC;&#x2122;s the point of having a wild night if you canâ&#x20AC;&#x2122;t remember every scandalous detail the next day?

list.co.uk/festival | Edinburgh Festival Guide 2014 | THE LIST 155

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t tree en S Que

ow ot R

sc re lC ya Ro

Ro dn ey

ar Cl

ad Ro

Pl ac e

T Old

Lynedo ch Plac e Lane

ge Brid

Bells Bra

et re St

e ac Pl

Qu et Stre Hill

Heri

ce Pla re Ey

n to gh ou Br

La ne

treet

Mi dd lef iel d

ick

ue en Av

s ge tta Co rig Pil

g id br m Ca

g id

ate ong Can

ad Calton Ro

Royal Terr

Hillside

's ton ch Cri

y c e e sa rra th Ro

n do en

ce Pla

et re St

Colm

ss my We

A in slie

St.

t tree en S Que rdens Ga

Cir cus

et Stre King

ow es R Fett

et Stre an d berl hum Nort

at Gre

Eyre Cre

et re St

c P la

lac eP e sli

oy al

C ircus Place

Circus Lane

et Stre and berl Cum

c Pla nt

Lane lace on P

Warriston Warr isto n Ro ad

et re St

Bell evu eP lac e

br m Ca

Fresh Food:Festival Places

d amsi

Mews Dean Park

Pla ce

ircu s Pla ce

t tree ia S Ind

Miller Ro w

n An

Mora y

ce ra er eT un o D

We st C

et re St

St re et

H enders

w n Ro erso

t tree nt S ince St V

ick der Fre

ent

a di In

e ac Pl

No rth

en ph te tS

St Steph en

Hend

n no Ca

ne La

nmills Canonmi

r St ove Han

Belgra ve Cre sc

Cl ar

nt St. Bernard's C resc e

ie sl Le

e ac Pl

tre e

Sa xe Co bu rg S

eet e Str How

Belgrave C re s

rk Street Dean Pa

nu Da

St re et

an De

et re St

Wa te ro fL ei th

lac e

-Coburg P

Road Glenogle

Rocheid Pa th

Ea st C la rem on tS tre et

n di ne Du

t en

St re et La ne

ill M e gi ill Lo ie M Log

n ly ss Ro

c es Cr

Sp ey St re et

ill M

Str eet nt

e gi Lo

t tree lin S Dub

Portgower Place

Le nn ox

t ree ards Cresc St en Bern int

t tree nS bur t Rae tree eS n y Che

ce Pla tum ore Arb

an De

Raebur n Place

Saxe

eR Bell evu

Eas tC lar em o Bell evu eS tre et

ace ith Terr Inverle

re et ster St Glou ce

D ea n Te Pa rr ac rk e

Ho pe to u

iston Cr es cent Warr et Stre das Dun

Cr es ce nt

Pl a ce

Pl a Ey re

He ri o tH ill Te rr ac e

on t Bank

et tre nS do Eil

t tree on S Nels

xf or d

et Stre nald Dundo

Terr ace

e Comely Bank Plac

n to rl Ca

North Park Terrace

w Ro 's a rd rn Be

et re St

Eton

h ug ha an De

Te rr ac e

a Cl

rk Yo

Ai n

g ou Br

et tre eS nc re

tre et

an d on S treet

et tre rt S Ha

k Lane Ban an De way alk W

Ha mi lto n

ce e Pla lle viill ollv Co ce ul Pla to in R ce r Pla Mille Hugh e Terrac d ei R ue en Av tum ore Ar b

St Vin ce

Place Avondale

e al Plac Balmor lace P s n lin ollli Co

ll Be

au nd er

on ht et re St

Str eet

e in Plac Dunrob

ace Terr Eyre et Stre

n io

Leith

ane eL lac eP Ey r Un

t ee Str

Pl ac e

a nd Scotl

Sq re ua

et re St Pi ca rd y

Place Kemp

eet h Str Pert

Pla

ce Bell Pla t en sc

n io Un Gr

Terrace Glenogle fi e Gay

re ua Sq

ee n

n no Ca et re St

ld Ro w

ie yf Ga Ga yfi eld

el unn et T Stre ne y Rod

et re St Elm

G at Bo en re

A le da an nn sid eR ow

d oa nR ee Gr

ng d on An Pla na ce nd al e

ce Pla

h Pat ton rris Boat Gree n Wa e al nd na An

Pl ac e

e ac Pl

ad di ng to n

gie Lo

ad Ro Str ee t

t ai so r

ll Mi gie Lo

kS swic Brun

Wi nd

ad Ro all erh av Be

k an er b av Be

Cr oa ll Pl ac e

d al on cD

W al k

i He ts gh

so nf ie

d yn

Le ith

n de ry D G

ac rr Te

Mura no P lace

et re St ey

Allanfield

g Sp

ne La

Hillside Street

ey Sp et re St se Clo end Loch

En se s le' Clo nt Ge

nd Wy ooth olb S

t tree

eet Str on st an et Cr tre

lo se rs C Chalm e

s Clo Gray' North s Clo bber' Carru

dge h Bri Nort

dge

eet r Str ove Han

n M ou The d

reet

et Stre

Cas

tr tle S eet

et Stre

K ET N

e ac er r nT so Gib

e rac Ter n Loa

h rt fo ew Vi

Warrender Park Ro ad

e Cr

Ro se ne at Ma rc h P hm la

th Te rrace

Roseneath Street

Rosen ea

Fingal Place

Chalmers

on st hi rc Me

Place

Roa Ro ad d

n so ol

et re St

No rth Me ad ow

Wa llk k

w Lane Meado

ic tN es W

lac e

nd mo um Dr

r race ille Te Melv

e riv le D lvil Me

ld fie ts un Br

oad ge R Gran

Palm ad n Ro ersto

le st Ca st Ea

ad t Ro ufor Bea

Hatton Place

Sciennes

Rillb ank Crescent

leuch

Meadow Lan e

Bucc

et Stre ton Crich

e lac lP Hil

's Pla S aint C atheri ne

Thirlestane Lane

Road

reet Arden St Spottiswoode

rge Geo re a Squ

an e et L Stre rles Cha

The Meadows

ce Pl a iot Tev

Pl ac e

t ee Str

Terrace adstone

ode Street Spottiswo Thirlestane Road

alk nW gto min ace Lea Terr rk a er P end Warr

The Meadows

n Simpson Loa

e Way Nightingal

Lauriston Plac e

GE OR GE IOT'S R HE H O O L SC

ce Crescent ont

t es W

s Ga Scienne

e lac

rn Be

d oa

on ar d' s

Parksid

Dumbiedykes Road Place bury Salis

nc Du

East

ce Pla ton Lut

e rac Ter ard

et tre eS gu nta Mo

n Street West Presto

ce r ra Te

’S EEN QU A L L H

ark eP Hop

tP on wm Bo

Brown Street

et tre rS eillo nk Ra

auseway East Cr ossc

m ch

rk Pa rd ffo Gi

d Street

et re St

dR oo lyr Ho

r pe

rrace hill Te Green

Bru ntsfield Crescent

P ar Warrender

Bruntsfield Links

race Glengyle Ter

et Valleyfield Stre

AL TIV FES ATRE E TH

eet e Str olleg th C Sou

ary irm Inf

et Stre

t en

Te rra ce

Bruntsfield Links

Street Tarvit KING’S KI AT E T ATR THE

ace le Terr Lonsda

e Place murre Panmu

Ve n

Br is to

L NA F TIO NA EUM O D S MU TLAN SCO

eet Str

ers mb Cha

Cowga

High

d oa nR gto win Ne

k ar rP lie pe nt Mo

ce Pla on st hi c r Me

Br un ts fie ld

St re et

Port

t tree nt S c ha Ca n d Mer lem ak e

a Street tori Vic

Street High

Sciennes

r ie el tp on M

ac rr Te

t cen res nC

e ac Pl

on gt in am

s en rd Ga

e ous eh hit

s en rd Ga ll a th

ace rin Pl

Br ou gh am

St re et

lace nP isto a ur

St re et

West

on gt in rt Ha

e ac Pl

e Cr

Loch

CAMEO CINEMA

s os lc r ol tT es W

St re et

La ur is to n

La w so n

t rke ma ass Gr

k al w

on gt in rt Ha

ie sp lle Gi

nt sce

F st Ea

e idg br ain nt

Bread Street

La dy

hn Jo

ce e rra nT sto

l eh il C astl

reet h St

LES ST. GI RAL HED CATH

Hig

Argyle Place

e or i lm

tT es

LY YCE C UM TH HEATR RE RE

Grin dla yS tre et

USHER R HALL

ac TRAV e ER THEA SE TRE

Ki ng 's St ab le sR oa d

URGH EDINB E CASTL

et ark nm Law

th B an k Street

alk ild W 's Gu omen swom Town

h rt fo

ac rr Te

rG pe Up

e Plac

Place ore Gilm

ri nb

Ro ad

lace dP un Mo

N or

stone Living

lle vi an Gr

ew Vi

e or lm Gi

rs te Pe St

e ac Pl

Pa rk

th pa ow lT na Ca e lac eP or lm Gi r we Lo

n io Un

ge rid inb nta Fou

i ta un Fo

Morrison Street

e dg

S tables

et S tre

e l ac tP rse ws Do Me n o ist rch Me

k al W

f ar Wh to n ing am Le

Gi lm or e

e et Str ve Gro

k al W

ion Un

t ree St ld ie df n a

e ac Pl

K ing's

es Hail

l na Ca ce ra ion e Ter n n U or

ve ro rG pe

ad Ro

e ac Pl

reet Home St

tA es

h ac ro pp

e et

Morr ison Str

et Cr tre ll et ho g S tre At nin S g n n Ca nni Ca

ne La

an e

k ic dw an Sh

e Le ven Terrac

w To al an

th pa

en t

Morrison Street

n lvi Me

ad Ro

re sc

re lC ol Ath

nt sce re

Dewar Place Lane

M or riso n

n Circ

Co at es

Torphichen Street

et re St

y rr fe ns

es ce nt

m ia ill W

sc en t

St re e

Al va

ee Qu

St re et

Ru tla nd

et r y an Stre

h ac ro

nt ce

la ce

Morrison Street

iso M or r

led onia nR oad

Ric hm ond Ter rac e

lac e

Da lr

t es W

d an itl Ma

et re St

orriso

Camb

t ee tr

Dewar Place

St re et rid ge

tr ee tL

ppr oac hR oa d

es tA

re St all

es Cr

oa d

Co rn w

rS te es Ch

t ee tr

rra ieff Te Moncr

se Cau

Bruntsfield Gard ens

k Lin

am gh ou Br

all c Cres ood Blackw

Forbes Ro ad

nt sce Cre er's rdn Ga

t ee Str

et re St

on nt Po lc ro s

Torphichen Place

Park ston Lauri et Stre n Gle e lac

Pla ce

St re e

eet Str ve Gro

S ar nb Du

e ad ig Br ys o B

Summ e rh

fi eld

t ee tr

rS no ve os Sp itt al

e ac Pl

le mp Se

t tree ers S Chalm

t ee Str rk Cle uth So

Bru nts

d n Roa Lothia

et re St s den Gar ton

Leven Stre et

ce la

P or an ey Gr rl Ea

n tio na ro Co

ouses

e ac Pl or an

ad oa Ro

H ig hR igg s

n Lothia

et tre el S

Wr igh t's H

H RG BU LE IN ST ED CA ris Lau

re sc en t

so w La

Stre leuch Bucc

on st er lm Pa al k

Keir Street

t ree St rk Cle

f Ox

Ma rc h

dy La

t Stree lson ico Nic

et tre rS ke al

y nd yW Lad e ac Pl

Le St

mo nt Cre s cent

et re St

Forrest Road

et re St

le st Ca t rio He

d m

r ke al

ne row ter Pot

e ac Pl or an M

say La R am

ge Brid p Cha

s Clo n's wa Co

aw bo ne

V ge I rrg Geo et tre

et Stre

e adow Pla ce

r eet ank St

en Howd

u Dr

rd fo af St ge Brid e IV Georg w o rR

Middle Meadow Walk George Square Lane

se s Clo Close rket wick' Old Fish ma Borth

re et

et Stre Blair S on ols

ne La

Middle Meadow Walk

Close law's Steven Nic

B S ou

e ridg th B

al k

Nidd

h urg

Lo th ia n

xb Ro on m ch Ri

nce Pleasa

St et trte Se re Sst rd das aorn e n L o LSet

Bo ro ug hl oc h

et re St L St

adow Walk

os e t tree ry S

ce Pla ond hm Ric on

ose Ga rd en s

th Sou se 's Clo Gray

's rd na eo

Nort h Me

et tre 's S ra ig

a ry tM Sain View c

e nc sa ea Pl

Gate

hn Jo View craig S treet Braidwood

St craig Street ew Vi

l Hil

d e ns

m b ikedyk et re St ay Gr

ay s sew Cau

on st hi rc Me

ide

e ysid wa

d Fin

ce n Pla Seto

min Cu

Greenhill

ce Pla

Place e T antallon Pla c

der Lau

L er's Lov

Sylvan Place

Crescent

nt Road Marchmo

e Street Lauderdal

t tree nt S hmo Marc

Green

G ardens

Forbes Roa

ue en Av

rk Pa

ue en Av

ad Ro

tle as tC es W

ad Ro

D ri ve ce an O

an ce O

ri D

Fresh Food:Festival Places

n Dr

k Pla ce

To we rS tre et

Tim be rB us h

eet

John's Lane

Pla ce

titu tio nS tre

Bat hR oad Li nk sP la ce

Jo hn 's

e lac nP to

Dun c

Pla ce

St. And rew Pla ce

ne Ja

Clar

Place Gladstone

et Halm yre

Stre Sloa n Str Sou eet th S loan Stre et

South

Elliot S treet

en d

Easter Ro ad

Mar yfie ld

Place

Da lge ty Ro ad Dalget

runton Terrace

Rossie

rr io nv

Edina Pl ace

ace

Allanfield

nf ield

Elgin Terra ce

P Moray

Well ingto n Str eet

Hillside Street

Drive

Lo ch en d

lace

Mura no P

Allanfield

so nf ie

Str ee t ds or

ard en s

A Dalgety

Win

G ro ve

He rm

it ag e

Pa rk

St Clai r Roa d

Easter Ro ad

Bu ch an an

Dickso n Street

St re et

Sloan Stree t

St r

Ar th ur

W al k Le ith

Sp ey St re et

Cr oa ll Pl ac e D

do nP An lac na e nd al e St re Ha et dd La in gt ne on Pl ac e

Pla ce Ro w

Alb ion G

Bothwe ll Street

ce Park Terra Moray

Elm

outh ad S d Ro hen Loc

treet

Hillside Cre scen t

Alb ion Ro ad

Su nn ys ide

Edina Str Stree eet

Stre et

Albion Road

Mon tgom ery S tree t

e Av

P ion Alb

iew rk V

et re St

kS swic Brun

e al nd na An

Elgin

l khil

Sleigh

e lac

lac e ld P fie lan Al

d Roa ick nsw Bru

d en ch Lo

Haw

ad Ro

Hun ti

rk Pa

d en ch Lo

i kh w Ha

d el

la Al

lrig sta Re

H aw khill

rk Pa nd he Loc

ll C los e

Drum Terrace

A venu e

Hibernian FC

o em Al m oo r

e Al

H a

t ee tr rS ai Cl

ne La

ce rra Te ey

t ai

et tre

Hawkhill

Eastern Cemetery

Albert Street

Allan

th Pa

h il l

alk Leit hW

Ga rd en

w Ne

Pi lri g

ue en Av ill eh Ry rig al st Re

ay ilw Ra

Iona St reet

ick

ad Ro

s en rd Ga ill eh Ry

e ov Gr ill eh Ry

n de

S ey Sp

La ne

e r ac Ter

oad

eet

Pl ac e

k P ar ge ita rm He

R nd he

tree t

Lo c

Lor ne S

Jam eso nP lac e

t ee

Dalm eny Str

dle fie ld

e id es re nt or Th

ge id br m s Ca ge tta Co rig Pil

e rac Ter ville Ash

et re St

ue en Av

ille odv Wo

ri g al st Re

c Ter ra hill Rye

s en rd Ga

ace Terr hill Corn

Sh ru b

Ho pe to u

Place

ce erra ig T sta lr t Re Eas

ace Terr talrig Res

Th or nt re eS tre

d Blackie Roa

ld ie df

lfo Ba

b m Ca

Mid

Ga yfi eld

Elm

ce set Pla Somer

re St

rrac ale Te Rosev

et Stre rose Prim

St ree t

c h ar

et re St

c es Cr

t en

re St en yd Dr

cen es Cr

Go rd on

e ac Pl

S ld gfie in pr

d iel gf rin Sp

g lri Pi

n ly ss Ro

Street Burns

s d' ea St

field ring Sp

ld gfie

Ma nd e rs ton Str eet

Road strial Indu

Place ea n Lind Place Noble

ne Ja

ce e Pla itag Herm

e ge Plac ermita East H

ns ield Garde Summerf

et re St

Du ke Pl ac e

Claremon t Road

Du ke St re et

ge rid

Pla ce

Leith Links

W Str ee t Ac ad em y

e re St

t an nn

ne La

St re et

e lac

Car ron Pla ce

ns de

Kir kS tre et

ne Ja

ad Ro

el lin g

et re St

e ac Pl

St re et

eet Str

ie rr Pi

u l fo Ba

Sa lam an de r

G ks Lin

Ju nc tio n

Str ee t

Sprin

Fox Stre et

Pl ac e

Co ns

Street

Swanfie ld

Coa tfie ld L ane

Ro ad Ba ng or

ad s

Pa ttis on Str eet

Que en C harl otte Stre et

rson Hende

et re St

ne lba ada Bre

ce Pla on ers And

on gt in nn Bo

ce Pla to Tin

on gt in nn Bo

Ya rd he

n tio

Bu rlin gt o n

on rs de An

c un tJ ea

Th e

t Stree Fort

Qu ilt s

Street Green

oa d

nde r

St re et

South

ing Bowl West

Al be rt R

St re et

Sala ma

Mit ch ell Str eet

le s

Ro ad

tre et

Ca bl es W yn d

Ca diz

Mit che ll S

Pop lar Lan e

nd e

rs on

ol bo ot h

Marit ime Str

St re et

e Stre ent iam Parl

t ee Str rt Fo u th So

Mill Lane

Baltic Street

Str ee t

St re et

ore Pl a ce

lhill Coa e Bra riff She

Bu rge ss

St re e

Water

et re St

Ba th

Po pla rL an e

Bro ad Wy nd

e at

Berna rd

Con stit utio n

it h

et re St er Path

Str eet

Shore

eet Str

Cou p

treet

Coburg S treet Water of Le ith

ra ei ad M

ce Pla

Com merc ial Q u ay

Elb eS tre et

merc ial S tree t

lea ry

Dr ive

Oce an Wa y

Com

ck Do

Po rt la nd

Mi ll

nS nctio

e ac rr Te ld fie et pe e o r H St nt ge Re e c in Pr

Com merc ial Q u

Doc

St re et

Oc ea n

Co ns tit ut ion Pla c

St re et

ei th

h Ju Nort

Ar gy le

Ocean Dr ive

To we rP lac e

an D riv e

Oce Lin ds ay Str ee t

No rth L

D ri ve

s Rennie' Isle

Rennie's Isle

Victo ria Q uay

Sheriff Park

Oc ean

Com merc ial Q uay

r Fe

ira de Ma

e Driv an

ive

Ocea

Oce Port land Row

North Leith Sand s

rdens nd Ga Portla

Nor tth hL eith Sa nd s

Ocean Drive

e iv ve r ri D Dan ance

O OCEAN TERMINAL

e ill

ad Ro

Ma Mar ion ville Pa rk

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Festival

INDEX

Titty Bar Ha Ha, page 44

AN A–Z OF SHOWS, EVENTS AND ACTS Abdullah Ibrahim

Edinburgh Airport

Adam Riches

108 58

Edinburgh Book Fringe

Aidan Moffat

Edinburgh Comedy Awards

Akram Khan

Edinburgh Festival Carnival

106

Alan Warner

Alfie Moore

Edinburgh International Fashion Festival

119

Alice

Edinburgh Mela

117

Alice Finbow

Alison Jackson: A Story in the Public Domain

Edinburgh Napier University Summer Jazz School

Edwin Morgan Poetry Award

Alison Watt

Emily Brown and the Thing

American Impressionism

Emma Pollock

Amy G

Erin Wall

Anatomy of the Piano

Et Tu Elvie

Andy Bell

Exhibit B

Andy de la Tour

Anna Prohaska

102

FAILE and Båst Festival Wheel

72 102 83 105 31 14

Foodies Festival

119

Anthony Wright

Forest Fringe

119

Apache Indian

118

Frank Skinner

Anne Archer

Asian Dub Foundation

Freedom Family Circus

Augusto Corrieri

Fringe by the Sea

Back of the Bus

Funny Stuff for Happy People

BadBadNotGood

108

Ganesh Versus the Third Reich

Bal Moderne

104

Generation of Z, the

9 68 119 68 105 22

Bette Davis Ain’t for Sissies

George RR Martin

Billy Hayes

Glen Matlock

Billy’s Birthday Bash

Glenn Cosby

Black Grace

Glenn Wool

Blind Hamlet

Gnosis

Bonnie Greer

Great Tapestry of Scotland, the

Brave Macbeth

Grid Iron

Kevin Day

Brazouka

Gruff Rhys

King’s Peace, the

Nualas, the

Brendon Burns

KlangHaus

On the Upside Down of the World 23

Bridge Over Toddled Warder, a

Guardian Edinburgh International Television Festival

Bridget Christie

Hackney Colliery Band

Britten’s War Requiem

105

Haftor Medbøe

Burton

Handspring Puppet Company

Cabaret

Haruki Murakami

Café Bar

109

HBO

9 89

98 112

Kerry Godliman

Tamsyn Challenger

NTS

Tango Negro

Tessa Lynch

Thünderbards

89 89

119

Origin

Tiger

Outings

Tim Key

Lauren Child

Out the Water

Tim Vine

100

Lazy Susan

Pamela Stephenson Connolly

Titty Bar Ha Ha

Lemi Ponifasio

Peter Ross

Toby

Lenka Vagnerová

Pin, the

Tomás Ford

Pina Bausch

Torsten the Bareback Saint

40 9, 14 105

Les Troyens

105

Not Too Tame

Ladies Live Longer

108

Kronos Quartet

105

10, 40

Calum Colvin

Helen Lawrence

Camille O’Sullivan

Hendrick’s Carnival of Knowledge 14

Letters Home

Pitiless Storm, the

Trial of Jane Fonda, the

Cariad & Louise

Hennessy & Friends

Little Big Show, the

Playwrights’ Studio Scotland

Troubles, the

Carrie Hutcheon

HUFF

Lloyd Langford

Poetry for the Palace

Twisted Loaf

Chris Goode

Hunger

Louise Welsh

Potted Sherlock

Ubu and the Truth Commission 100

Christian Scott

107

Ian Rankin

Lucie Pohl

Projection Studio, the

Circa: Beyond

Idil Sukan

McQueen

Pss Pss

Claire Booth

102

Inala

105

Mackenzie Crook

Collapsing Horse

Irvine Welsh

Malasombra

Comedy Allsorts

Isa Genken

Mandela Day Concert

Common Wealth

I-Spy

Complete Works of William Shakespeare, the

Jacqueline Wilson

Counterpoint

James Plays, the

Jack Dee

Rachel Sermanni

64 119

Umbilical Brothers

Ute Lemper

102

Van Morrison

108

Richard Bacon

Vincent Gambini

Rising, the

Viv Albertine

Margaret Thatcher Queen of Soho 81

RM Hubbert

Maria Addolorata

Rob Newman

Virgin Money Fireworks Concert

Men in the Cities

Ron Butlin

Mental

Royal Edinburgh Military Tattoo 114

Where do I end and you begin 23, 25

Russell Kane

Wild Card Kitty

St Joan

William McIlvanney

110

9, 94

114

108

9, 50 10

Voca People

105 44

James Rhodes

Michelle McManus’ Reality

Dalziel + Scullion

James Shaw

Mike Stern & Bill Evans Band

Dave Callan

James Yorkston

Mil’s Trills

Seann Walsh

Winter is Coming

David O’Doherty

Jamie Mitchell

Miss Behave

Shit-Faced Shakespeare

Withered Hand

Jamie Sives

Czech Philharmonic

David Peace Delusion of the Fury Denise Mina Diana Gabaldon Diana Rigg

105

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Janis Joplin: Full Tilt

Mo Shapley

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Neil Hamburger

Sofie Gråbøl

Zara McFarlane

Joanna Boyce

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John Byrne

Nick Helm

Soumik Datta

Nicola Benedetti

Dixey

John Gordon Sinclair

Doug Johnstone

Josie Lawrence

Dracula

Julian Cope

Early Doors

Jupiter Artland

EastEnd Cabaret

Just Festival

160 THE LIST | Edinburgh Festival Guide 2014 | list.co.uk/festival

105

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Stewart Lee

No Guts, No Heart, No Glory

Sunday in the Park, a

No Turn Unstoned

Susan Bullock

Noggin the Nog

Tall Stories

119

81 108 81

117

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68 102 90

For all the information about Edinburgh restaurants, bars, shops and clubs, please see our City Guide which kicks off on page 121

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T: 0131 558 7272 | www.thestand.co.uk | Fringe 2014