FESTIVAL Guide EDINBURGH
LIST.CO.UK/FESTIVAL
2015
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JULIETTE BINOCHE ALAN CUMMING
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PENNY ARCADE JOHN HANNAH DAVID BAILEY MAX RICHTER BOLLYWOOD LANARK
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Extra shows 19:30, 10, 17, 28 August Extra Shows 14:30 17 & 24 Aug Extra Shows 21:00, 24 August
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EDINBURGH FESTIVAL GUIDE 2015
CONTENTS FO COMPLR FES ETE LISTINGTIVAL LIST.C S, SEE .UK FESTIO VAL /
FRONTLINES & FEATURES 9
News in Brief Gilded Balloon, Game of Thrones and the gogglebox
12
Frontlines Auld Reekie, alcohol and actual jobs
16
Circus How the Big Top conquered Edinburgh
20 Juliette Binoche The European icon owns Antigone
ART 24 David Bailey Peter York dissects the legendary photographer
27 Phyllida Barlow Making sculpture fit the space
BOOKS 32 Alan Cumming An A-Z of Aberfeldy’s local hero
34 Louise Stern Telling tales of close-knit communities
37 Kate Tempest Luke Wright on performance poetry’s saviour
FRINGE 44 Comedy Luisa Omielan, Nish Kumar, US comedians
63 Dance Gandini Juggling, Nijinsky’s Last Jump
66 Kids Julia Donaldson, Grossed Out Game Show
71
Music Bill Wells & Aidan Moffat, Sarah Jane Morris
76 Theatre John Hannah, Penny Arcade, dead icons
INTERNATIONAL 96 Max Richter How to recompose a Vivaldi classic
100 Lanark Alasdair Gray’s unstageable book treads the boards
103 Robert Lepage Stewart Lee pays homage to theatre’s iconoclast
JAZZ 109 Frank Sinatra Happy 100th birthday to Ol’ Blue Eyes
POLITICS 112 Freedom of speech Bridget Christie says ‘no’ to censorship
TATTOO
‘IF WE’RE HERE, THERE MUST BE SOME KIND OF PURPOSE’ JULIETTE BINOCHE
116 The Royal Edinburgh Military Tattoo Bollywood storms the castle
OTHER FESTIVALS 119 Joan Armatrading The singer-songwriter makes a splash by the sea
CITY GUIDE 125 Old Town 132 New Town & Stockbridge 140 Southside
PHOTO © G EVANS
146 West End 151 Leith & Broughton Street Published in July 2015 by The List Ltd Head Office: 14 High Street Edinburgh EH1 1TE Tel: 0131 550 3050 list.co.uk
©2015 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.
Printed by Acorn Web Offset Ltd, W. Yorkshire Maps ©2015 The List Ltd.
158 Clubbing 159 LGBT
INDEX 160 Festival Z-A (yes, you read that right)
EDINBURGH ART FESTIVAL 30 Jul–30 Aug edinburghartfestival.com Telephone booking: Please call individual venues. Many events are free but ticketed
EDINBURGH INTERNATIONAL BOOK FESTIVAL 15–31 Aug edbookfest.co.uk Telephone booking: 0845 373 5888 In person: The Hub, Castlehill, the box office in Charlotte Square Gardens
EDINBURGH FESTIVAL FRINGE 7–31 Aug edfringe.com Telephone booking: 0131 226 0000 In person: Fringe Box Office, High Street, University of Edinburgh Visitor Centre, Charles Street
EDINBURGH INTERNATIONAL FESTIVAL 7–31 Aug eif.co.uk Telephone booking: 0131 473 2000 In person: The Hub, Castlehill
PHOTO © RO B MCDOUG ALL
OKING FESTIVAL BIOON INFORMAT
WELCOME TO THE FESTIVAL What happens when the Greatest Show on Earth meets the biggest arts festival in the world? You have a very busy and exciting August in Edinburgh, that’s what. The circus is well and truly coming to town with clowns, acrobats and fire-eaters taking over the Fringe. There’s even a Big Top film noir in the shape of our cover stars, Cirque La Roux. Over the following pages, we have interviews with European icon Juliette Binoche, Warhol protégé Penny Arcade, popular Scottish actor John Hannah, ballsy party-girl comedian Luisa Omielan and Vivaldi recomposer Max Richter. Meanwhile, style guru Peter York recalls being photographed by David Bailey, Stewart Lee tells us why Robert Lepage forces him to look beyond the Fringe, Bridget Christie makes an impassioned (but funny) plea for freedom of speech and Luke Wright remembers the first time he ever saw the spoken-word whirlwind that is Kate Tempest. Plus, we knock up an A-Z about Alan Cumming, throw a Q&A at a host of American comedians and ask some Jazz Festival people for their memories of Frank Sinatra. The Edinburgh Festival can feel a little bit like stepping blindfolded into a maze, but it’s our job to make things easier for you. As well as this guide, we have three free magazines during August and extensive online coverage at list.co.uk/festival and @thelistmagazine which will carry all the best interviews, features and reviews (and yes, it’s also our civic duty to tell you which shows to avoid like the plague). Roll up, roll up: the Edinburgh Festival is almost here . . .
Brian Donaldson EDINBURGH FESTIVAL GUIDE EDITOR
CONTRIBUTORS EDINBURGH JAZZ & BLUES FESTIVAL 17–26 Jul edinburghjazzfestival.com Telephone booking: 0131 473 2000 In person: The Hub, Castlehill
FESTIVAL OF POLITICS 14–16 Aug festivalofpolitics.org.uk Telephone booking: 0131 348 5200 / 0800 092 7600 In person: Scottish Parliament, Horse Wynd
Festival Guide Editor Brian Donaldson City Guide Editor Claire Ritchie Editorial Assistants Claire Flynn, Carolina Morais Writers Kelly Apter, Marissa Burgess, Bridget Christie, Rachael Cloughton, Neil Cooper, Brian Donaldson, Mark Fisher, Donald Hutera, Lorna Irvine, David Kettle, Stewart Lee, Rosie Lesso, Rowena McIntosh, Anna Millar, Rebecca Monks, David Pollock, Murray Robertson, Claire Sawers, Fiona Shepherd, Stewart Smith, Yasmin Sulaiman, Gareth K Vile, Luke Wright, Peter York
DIGITAL Andy Bowles, Hamish Brown, Andy Carmichael, Bruce Combe, Iain McCusker, Scott Henderson RESEARCH Kirstyn Smith, Murray Robertson, Alex Johnston, Rowena McIntosh, Rebecca Monks, Henry Northmore
PRODUCTION Design & Art Direction Jen Devonshire Production Manager Simon Armin Subeditor Paul McLean
THE LIST Director Simon Dessain
ADVERTISING & SPONSORSHIP Chris Knox, Sheri Friers, Brendan Miles, Debbie Thomson, Nicky Carter, Jessica Rodgers, Jade Regulski
Publisher Robin Hodge Editor Yasmin Sulaiman Accounts Sarah Reddie
list.co.uk/festival | Edinburgh Festival Guide 2013 | THE LIST 5
TOP 20
Another year and another Edinburgh Festival with far too much to see and just over a month to catch it all. From the Big Top to Bollywood and jazzers to jugglers, we offer some unmissable events for your diary
ART
FRINGE
PHYLLIDA BARLOW
The South Bank Award nominee is turning the Fruitmarket upside down. Come and see how. See page 27. Fruitmarket Gallery, until 18 Oct.
LUISA OMIELAN The bling will be out on display as this force of nature delivers a short but sensational run of Am I Right Ladies?! See page 44. Assembly George Square Theatre, 13–15 Aug.
FRINGE
INTERNATIONAL
FRINGE
CIRCUS
ROBERT LEPAGE
PENNY ARCADE As part of Warhol’s art revolution, Penny has plenty stories to tell, focusing here on the ills of gentrification. See page 86. Underbelly Cowgate, 8–30 Aug.
The acclaimed playwright is here for the European premiere of 887, a meditation on memory and a reflection on the power of theatre. See page 103. EICC, 13–23 Aug.
PHOTO © ERIK WEISS
PHOTO © STEVE ULLATHORNE
This year’s Fringe goes Big Top crazy with its first dedicated circus hub on the Meadows as clowns (both creepy and cute), aerial artists, blokes with beards and an awful lot of intricately-detailed tattoos pop up all over town. The Greatest Show on Earth descends upon us and things may never be the same again. See page 16. Various venues, 5–31 Aug.
TATTOO
FRINGE
INTERNATIONAL
THE ROYAL EDINBURGH MILITARY TATTOO Celebrating
JULIA DONALDSON
MAX RICHTER
‘East Meets West’ with Bollywood Love Story stirring things up. See page 116. Edinburgh Castle, 7–29 Aug.
The Gruffalo, Zog and the Flumflum Tree all show up for this year’s must-see Julia Donaldson event. See page 66. Underbelly George Square, 6–31 Aug.
6 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
Richter’s recomposing work on Vivaldi’s The Four Seasons has been greedily lapped up by a new, broad audience, and it acts as the perfect symbol of the International Festival’s fresh direction. His work can also be heard during Ballett Zürich’s performances at the same venue. See page 96. Edinburgh Playhouse, 24–29 Aug.
TOP 20 FRONTLINES
FRINGE
POLITICS
BILL WELLS & AIDAN MOFFAT Fresh from a cameo turn at
FESTIVAL OF POLITICS
MICK JAGGER, 1964 © DAVID BAILEY
PHOTO © IDIL SUKAN
Mogwai’s 20th anniversary bash, Moffat teams up with his SAY Award-winning pal. See page 71. Summerhall, 12 Aug.
Film screenings such as 12 Years a Slave and All the President’s Men help make this year’s FoP a belter. See page 111. Scottish Parliament, 14–16 Aug.
FRINGE
NISH KUMAR
INTERNATIONAL LANARK Alasdair Gray’s epic tale of Glasgow takes to the EIF. Let’s find out if this unstageable novel can make the theatre grade. See page 100. Royal Lyceum Theatre, 23–31 Aug.
ART
DAVID BAILEY
The iconic photographer most readily identified with London’s Swinging Sixties era has shot them all before and since. Check out his portraits of Mick Jagger, Jerry Hall and Jack Nicholson, as well as some equally eye-catching images of not-famous people. See page 24. Scottish National Gallery, 18 Jul–18 Oct.
PHOTO © CHRISTINA HARDINGE
Inconceivably passed over for a Comedy Award nomination last year, this intelligent comic aims for another strong hour. See page 52. Pleasance Courtyard, 5–30 Aug.
BOOKS
FRINGE
BOOKS
KATE TEMPEST
CHRIS THORPE Three shows
ALAN CUMMING Fans of The Good Wife and The High Life will have sprinted to get their hands on tickets for the Aberfeldy lad’s event. See page 32. Charlotte Square Gardens, 29 Aug.
from Thorpe, a fresh blast of last Fringe’s Confirmation plus two about death and stories. See page 83. Summerhall, 8–30 Aug; Traverse Theatre, 18–30 Aug.
PHOTO © JAN VERSWEYVELD
A Mercury Prize nomination last year merely proved the crossover appeal which this young Londonder has achieved in a relatively short space of time. Two events (a performance and a chat with Don Paterson) will undoubtedly be Book Festival highlights. See page 37. Charlotte Square Gardens, 18 & 19 Aug.
FRINGE
FRINGE BY THE SEA
GANDINI JUGGLING
JOAN ARMATRADING
Some jugglers and ballet dancers take to the stage and consider where different disciplines meet. See page 63. Assembly George Square Theatre, 5–30 Aug.
The ‘Drop the Pilot’ singer may insist that long tours are in the past, but she’ll be putting love and affection into this gig. See page 119. North Berwick, 11 Aug.
INTERNATIONAL ANTIGONE Last year it was Sofie Gråbøl, this time it’s Juliette Binoche, as a member of the European acting aristocracy comes to grace the EIF. See page 20. King’sTheatre, 7–22 Aug.
JAZZ
FRANK SINATRA
New Jersey’s famous son would have been 100 in 2015 and the Jazz Fest have two events paying tribute. See page 109. Festival Theatre, 17 Jul; Spiegeltent, 26 Jul.
list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 7
2014
I WISH... A Baker and his Wife venture Into The Woods to reverse a Witch’s spell. Along the way they encounter Little Red Riding Hood, Jack (of Beanstalk fame), Cinderella, Rapunzel and their not-so-princely Princes. However, this retelling goes beyond ‘happily ever after’ as the hopes and dreams of these familiar characters
are transformed amidst the most mysterious character of all - The Woods themselves.
and a hugely talented young company of 11 to 24 year olds drawn from all over Scotland, don’t miss what is a
10-16
rare opportunity to see this award-winning musical on the stage of the UK’s largest theatre.
AUGUST
2015
Brought to life by director Peter Corry (Les Misérables)
This year’s programme includes:
11TH
14TH
12TH
15TH
13TH
16TH
LIZ LOCHHEAD & STEVE KETTLEY JOAN ARMATRADING LINDSAY LOU AND THE FLATBELLYS PHIL CUNNINGHAM & ALY BAIN EDDI READER FUNBOX THE SCOTTISH SUPER TROOPERS AND DIRTY HARRY
www.fringebythesea.com 8 THE LIST | Edinburgh Festival Guide 2013 | list.co.uk/festival
ALAN DAVIES BARRY CRYER & RONNIE GOLDEN OPERA EAST LOTHIAN BOMBSKARE ELAINE C SMITH THE BLUES BAND
NEWS | GOSSIP | OPINION FRONTLINES
NEWS IN BRIEF SNIPPETS OF STUFF FROM ACROSS THE FESTIVAL
TEAM GB The Gilded Balloon has experienced many ups and downs over a three-decade long existence (not least the 2002 fire which destroyed its iconic Cowgate venue), but it’s now celebrating a happy 30th. The Playhouse will host a gala affair (15 Aug) featuring Johnny Vegas (pictured above with GB boss Karen Koren and what looks remarkably like one Leo Sayer!?), Tommy Tiernan and Gary Tank Commander, while Barry Cryer endures his 80th birthday roast (23 Aug). A late-night Comedy Walk (24–26 Aug) is led by Gilded vets Arthur Smith and Steve Frost with a ticket gaining you entry into Late‘n’Live, the notorious bearpit that has tamed the wildest of Fringe comedians. Even a pre-sobriety Russell Brand.
TURNING POINTS The List is hooking up with Edinburgh Art Festival for a series of live performances in galleries across the city. Festival Detours features the likes of Phill Jupitus at Inverleith House (12 Aug) and Carol Ann Duffy at Talbot Rice (21 Aug) while Art Lates will run an excellent programme of events in the evening. Rising Glasgow band WHITE are in town (13 Aug, venue tbc) while Miaoux Miaoux entertain us at the Scottish National Portrait Gallery (20 Aug). Keep an eye on list.co.uk/festival for updates.
PHOTO © JESSICA VERMA
WESTEROS HAILS There may be no Joffrey, Olenna Tyrell or George RR Martin in Edinburgh this August, but the Festival’s obsession with HBO’s epic fantasy drama continues. From popular American improvising troupe Baby Wants Candy comes Thrones! The Musical! (pictured) while Winter Is Coming. Again marks the sequel to last year’s musical theatre romp. As for a cappella group Game of Tones, the old gods and the new would surely approve.
GROUNDS FOR CONCERN Not one for the simple life of standing with mic in hand telling a stream of gags, Mark Thomas’ latest project is Trespass, in which he takes the government to task for selling off communal areas and public spaces, and attempts to reclaim them for the people. This typically ambitious project will be unveiled at Summerhall.
list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 9
FRONTLINES NEWS | GOSSIP | OPINION
NEWS IN BRIEF SNIPPETS OF STUFF FROM ACROSS THE FESTIVAL
SCREEN BREAKS The Television Festival may continue to be an offlimits industry bonanza, but it might still result in you bumping into some top names around town. Armando Iannucci (above) delivers the MacTaggart Lecture while Nicola Sturgeon offers the Alternative MacTaggart. Frankie Boyle, Shane Meadows, Julia Davis and Ron Perlman will also be here. Events run from 26–28 Aug.
EAT UP As part of Scotland’s Year of Food and Drink, Assembly’s George Square Gardens hosts the inaugural Edinburgh Food Festival (29 Jul–2 Aug). During the day there’ll be free entry to talks, debates and gourmet street food (plus, as the image suggests, cheese), as well as the launch of Scotland’s Ice Cream Trial. Among those appearing in the daylight hours will be our very own food guru Donald Reid, JustBe Aromatherapy’s Gail Bryden and Warren Bader, CEO of Plan Bee. At night, the entertainment cranks up with cabaret show Le Haggis, foodie and bon viveur Hardeep Singh Kohli and Scottish fiddler and composer Adrian O’Rourke among the highlights.
UK STILL OK? The question of where Britain goes next is far from off the agenda despite the No vote prevailing at last September’s referendum. The SNP’s general election landslide up north allied to the Tories getting back in down south put paid to that. ‘Changing Britain’, the Book Festival strand assessing the country’s landscape, features the likes of Gordon Brown, Alex Salmond, Iain Macwhirter, Zoe Williams and Danny Dorling as well as the pictured trio of James Naughtie, Bidisha and Lesley Riddoch. PHOTO © PAULINE KEIGHTLEY
10 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
CHORUS OF APPROVAL What’s better: winning a Tony Award or opening up the EIF? Well, 59 Productions can lay claim to doing both this year. On the back of their recent Tony for An American in Paris, they’ve created The Harmonium Project (7 Aug), a free outdoor event of music, lights and animation around Festival Square. The event will also help mark the Edinburgh Chorus’ 50th anniversary.
IT’S BACK! The siz zling smash-hit re turns to Edinburg h ★
★★★
★ ‘R R A IS IN G WITH A SHOW THHELL AT’S PURE HEAV EN’ Time Out, Sydney
★★★★
‘A THRILLING CIRCUS-CABARET EXTRAVAGANZA ’ Daily Telegraph
7.25PM (8.25PM) 07-29 AUGUST 2015
++++
FRONTLINES NEWS | GOSSIP | OPINION
FRONTLINES NEWS | GOSSIP | OPINION
SELL US YOUR SHOW IN
50 WORDS RUARIDH MURRAY After three successful one-man shows, Allie is my first two-hander, a dark comedy set in the Edinburgh I grew up in. Allie meets gangster Bobby Warren but her wet dream turns into a bloodstained nightmare. Now she’s out to wreak vengeance on the man who stole her dreams! Allie, Gilded Balloon, 5–31 Aug, 5pm.
DIANE CHORLEY In the 80s I was the face of HP Sauce and Avon body scrub. Before I went to prison, my show sold out the Dagenham Mecca five nights in a row! I’m finally free, and you want me to sell it in one paragraph? Not possible. Duchess of Canvey, Underbelly Potterrow, 5–31 Aug (not 17), 10.30pm.
Can these Festival folk win you over in a mere half-century of words?
LOUISE REAY
TWINS
RACHEAL OFORI
KENNARDPHILLIPS
BAT-FAN
Eight years of dusty libraries, 133 banquets and 64 hours of sweating with 70-year-old clowns have led to a show entirely in Chinese, but for people who don’t speak any Chinese at all. You’ll understand it, but you won’t know why. Please come or my whole life’s work will be a waste. It’s Only Words, Community Project, 6–30 Aug (not 18), 4.15pm.
JACK: We’re both really excited about the show. We’ve been gelling really well and have written some of our best material yet. ANNIE: I’m looking to recast my brother Jack. We don’t get on and I’d rather work with someone else. The show’s a fucking shambles. Pret A Comedy, Pleasance Courtyard, 7–30 Aug, midnight.
Candice is an 18-yearold south Londoner trying to understand her place in the world, provocatively plucking at the stereotypes she sees around her. There’s insight, laugh-out-loud humour and music. The characters are based on people I’ve met but the words and the dancing are all my own! Portrait, Pleasance Dome, 5–29 Aug (not 17, 24), 1.20pm.
Here Comes Everybody sets the rules in its title. Corporate architects are having a heyday with their gherkins, shards and toasters and turds. Kennardphillipps collapse the towers of capital into the people’s landscape, biting at hierarchy with the stuff of their dustbin. Exhibition and Action, Stills and St James’ Centre. Stills, 31 Jul–25 Oct, 11am.
I create the ultimate Batman movie, starring me, taking all the best bits from the comics, films and TV series. I’ve built my own props, my mum made my costume and I have a superpower that even Ben Affleck doesn’t have: a master’s degree in musical theatre. Pleasance Courtyard, 5–30 Aug (not 17), 3.30pm.
JESSIE CAVE
JOE LYCETT
Inspired by a woman I saw from my window. One shoelace undone and a pink neon thong (which was surprising as the rest of her outfit was Amish). I decided to follow her to extinguish my habit of stalking online. I thought this would teach me a lesson. I was right. I Loved Her, Underbelly Cowgate, 6–30 Aug, 5.30pm.
We all know what you’ve done. The guilt clings to you like a clematis, its blossom exposes your disgrace to the world. Sleeplessness weakens your wits, your nerves are splintered. You can’t hold onto the lie much longer. You need a laugh. Why not come to my show? That’s the Way, A-Ha A-Ha, Joe Lycett, Pleasance Courtyard, 5–30 Aug (not 10, 17, 24), 8pm.
MOISHE’S BAGEL
DAVINA AND THE VAGABONDS
When is a bagel not a bagel? When it is a 12-year matured aged-inScotland Bagel! The band will be 12 in July this year and celebrates ‘not being Klesmer enough’ by playing a music-mix of influences always ‘in the moment’ that has been known to have changed people’s lives . . . for the better! St Andrew Square, 24 Jul, 10pm.
The One, The Only: Davina and the Vagabonds are coming to your town! These four well-dressed dapper men and a pincurled, red-lipped, sassy woman have come to bring you 100 years of Americana full of life, love and excitement! Tron Kirk, 17 Jul, 1.30pm, 19 Jul, 7.30pm; St Andrew Square, 17 Jul, 10pm, 18 Jul, 8pm.
SEE MORE 50-WORD PITCHES AT LIST.CO.UK/FESTIVAL 12 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
SH!T THEATRE As gender inequality was fixed in 2013, why have we made this? Money. A man gave us money to write it. So here it is, a whole hour solving Women every other day. For some money, you can be there too. £6 tickets, four-star reviews, two laydeez in short shorts and one Women’s Hour. Summerhall, 5–30 Aug (not Tue, Thu, Sat), 2pm.
Five days of open-air films in the heart of Edinburgh
WEDNESDAY 12 August
The University of Edinburgh invites you to classic film screenings in the Old College Quad. Bring a picnic and enjoy a drink from our outdoor bar.
THURSDAY 13 August
All tickets for afternoon and evening screenings are £6.50 + booking fee. The Saturday and Sunday morning screenings are free and unticketed. Doors open 30 mins before each screening.
FRIDAY 14 August
www.ed.ac.uk/festivals Wed 12 – Sun 16 August
7pm
Starship Troopers (Cert 15, 129 mins, 1998)
9.30pm
Blade Runner (Cert 15, 117 mins, 1982)
7pm
This is Spinal Tap (Cert 15, 79 mins, 1984)
9.30pm
Withnail & I (Cert 15, 107 mins, 1987)
7pm
Thelma & Louise (Cert 15, 130 mins, 1991)
9.30pm
Fight Club (Cert 18, 136 mins, 1999)
SATURDAY 15 August 10:30am The Lego Movie (Cert U, 100 mins, 2014) 1pm
Family Classic to be announced
3:30pm
The Goonies (Cert PG, 114 mins, 1985)
7pm
The Lost Boys (Cert 15, 97 mins, 1987)
9.30pm
An American Werewolf in London (Cert 15, 93 mins, 1981)
SUNDAY 16 August 10:30am Paddington (Cert PG, 95 mins, 2014)
In association with EIFF
A Unique production
1pm
Singin’ in the Rain (Cert U, 103 mins, 1952)
3:30pm
Cinema Paradiso (Cert PG, 123 mins, 1988)
7pm
Heathers (Cert 15, 101 mins, 1989)
9:30pm
The Theory of Everything (Cert 12A, 123 mins, 2014)
Note: No fixed seating allocated. Viewing area will be arranged picnic st style. Only limited seating will be available on request. Persons under the age of 16 years must be accompanied by an adult. All films subject to license. No alcohol or glass can be brought into event, bar and food facilities available in arena. Programme correct at programm details. Terms & conditions apply and are available: www.ed.ac.uk/festivals the time of printing. Please check our website for the latest programme
list.co.uk/festival | Edinburgh Festival Guide 2013 | THE LIST 13
FRONTLINES NEWS | GOSSIP | OPINION
DRINK UP
With Edinburgh drenched in booze and festival-goers set to consume a liver-quivering quantity of alcohol, we asked the Thinking Drinkers (whose show features five free drinks for every audience member), for some invaluable elbow-bending advice. Here’s what you should drink when . . . . . . you receive your first five-star review
Every time we receive a five-star review (which is pretty much all of the time), we make ourselves a Plymouth Gin Martini because that’s what Winston Churchill drank. That guy was the ultimate winner: after all, he beat a non-drinking nasty Nazi. The Martini glass is a v-shaped gesture to all those people who laughed when we said we were going to be comedians. Well, they’re not laughing now (Bob Monkhouse wrote that but, let’s be honest, it wouldn’t be Edinburgh without a bit of joke theft). . . . you receive your first two or (heaven forfend) onestar review
The only thing to do is get back in the saddle of laughter, dig your heels into the haunches of light entertainment and head for the horizon of opportunity: just like the cowboys of the Wild West who feature in our show and whose intrepid entrepreneurial verve was fuelled by American whiskey. Made in the oldest continuously working distillery in America, Buffalo Trace Bourbon is what we reach for in taxing times like this. . . . you find yourself at 5am in a nightclub
We’ve often ended up in Espionage, which is wrong on so many levels. Legend has it that it’s called Espionage because Sean Connery worked there as a bouncer. That’s absholute nonshenshe of course, but if you want to drink like Bond then order yourself a Belvedere Vodka Martini. And if you have an olive / lemon twist with it then that’s one of your five-a-day. It may be the only fruit you have all month.
If you’re in bed at ten o’clock four nights running, you’re doing Edinburgh wrong. Get out of bed, wake yourself up with an Espresso Martini and take a long, hard look at yourself in the mirror. Sort it out. . . . you have just finished your last show of the month
A nice cup of herbal tea. And a lie down. The Thinking Drinkers’ Guide to the Legends of Liquor, Pleasance Courtyard, Pleasance, 0131 556 6550, 8–31 Aug (not 17), 6.40pm, £10–£12.50 (£9–£11.50). Previews 5–7 Aug, £7.
HOME
WORK IT OUT
SPUN
Come September, some people have got actual jobs to go to Midlothian jazz singer er Iain Hunter (pictured)) has been a butcher for over 20 years and currently owns Hunters of Kinross / comedian Papa CJ is a motivational speaker for college students and blue chip companies ibl / co-writer of Impossible, Robert Khan is the head of Law Reform at the Law Society of England and Wales and is a Labour councillor in Islington / Liz Kingsman from sketch group Massive Dad is a receptionist at the head office of a famous London diamond jewellers / author Magnus Mills is a bus driver / Abi Tedder from sketch group Minor Delays is events manager for the London School of Economics / leader of the Diplomats of Jazz, Jim Petrie is a painter and decorator / comedian David Mills is marketing and PR manager for the jewellers Goldsmiths / comedian Matthew Winning is a research associate in the UCL Energy Institute and the UCL Institute for Sustainable Resources providing macroeconomic modelling on the subjects of green growth, ecosystem services and low-carbon shipping. Q For more people with proper jobs, go to list.co.uk/festival.
. . . the sound of the fireworks wakes you up from that early night (for the fourth night running)?
Yes, the Edinburgh Festival draws acts and audiences from all over the world. But what about those performing this year that were born, bred or now based in Auld Reekie? Here, we namecheck a few acts who are playing a home gig in August THE MAC TWINS
LUCY RIBCHESTER BCHESTER
STOIRM ÒG
Identical DJ twins, Alana and Lisa Macfarlane (pictured) return to their home patch with weekend gigs at the Gilded Balloon for PLAY, a ‘videogame dance party’ which gives ‘power to the people’.
Author of The Hourglass Factory, a tale of suffragettes, journalists and acrobats, Ribchester takes part in a First Book Award Nominee event. Other bookish types from the city include the Edinburgh Makar Christine De Luca, local GP Gavin Francis, ex-Bishop of Edinburgh Richard Holloway and, of course, Irvine Welsh. Via Chicago, these days.
At Assembly Hall, SpectreTown provides some Doric, song and dark secrets with Matthew Lenton in the director’s seat.
EDINBURGH CHORUS Marking their half-century, the Edinburgh Chorus help open up this year’s International Festival as part of The Harmonium Project, a free event in Festival Square.
IAIN STIRLING He’s been a CBeebies presenter and supported Russell Kane on tour. Now he’s got a big beard and is all Touchy Feely at the Pleasance Courtyard.
14 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
COLIN STEELE QUINTET The trumpeter and composer heads up an absolute plethora of local talent at the Edinburgh Jazz and Blues Festival. Among them are Trio HSK, Orkestra Del Sol, Spirits of Rhythm, Boteco Trio and Brass Gumbo.
JO CAULFIELD The stand-up moved here a few years back and has thrown herself into the cultural life of the city with her regular Speakeasy bill at the Storytelling Centre. For August, she’s having Awkward Conversations at The Stand. Other notable Embra-based comics doing their thing at the Fringe include Stewart Francis, Tom Stade, Daniel Sloss and impro double act Stu & Gary. Q For full details of all events, go to list.co.uk/festival.
03 July - 31 August
PLUS Spine-chilling new Jack the Ripper Don’t miss show on for a limited time only our Deadly catch him while you can! Dungeon Murder thedungeons.com/edinburgh Mystery at the Fringe!
Rethinking the past Free public lectures to challenge popular beliefs and reassess intriguing events from throughout history. 10–13 August 2015 www.shca.ed.ac.uk/festivallectures
The University of Edinburgh is a charitable body, registered in Scotland, with registration number SC005336.
list.co.uk/festival | Edinburgh Festival Guide 2013 | THE LIST 15
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Edinburgh is known as both a literary hotspot and the place where many household comedians started their careers. But could Scotland’s capital soon be taking the circus into its heart? Full Cirqle, a dedicated centre for acrobats and jugglers, opened earlier this year while the Fringe is witnessing an explosion of events, led by Underbelly’s new Circus Hub on the Meadows. Over the following pages, we take a mnemonic look at many of the acts that are set to secure this Festival’s status as the greatest show on Earth
16 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
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IS FOR CLOWNS
Some people think clowns are cute, cuddly and fun (like Cam’s Fizbo in Modern Family), while others get a little weirded out by them (thanks largely to It’s Pennywise). When weirded out turns to raw fear, it might even result in coulrophobia (look it up, if you dare). We certainly hope none of these guys instil terror, but we can’t deny that there isn’t an edge to them. ‘Big’ Mike Geier (his 6ft 8 height explains the ‘Big’ bit) fronts Puddles Pity Party (Assembly George Square Gardens, 6–31 Aug). Blessed with a voice that should really be gracing the Jazz Festival, Puddles exercises his right to be the sad, slightly menacing clown. His muchviewed version of ‘Royals’ was posted on YouTube a couple of Hallowe’ens ago. That’s sort-of creepy all on its own. Marc Gassot’s Dark Side of the Mime (Assembly Roxy, 5–30 Aug) certainly takes clowning into sinister places, and if you find yourself getting involved in his show, expect to do some pretty edgy role-playing. Another guy who you can barely get a peep out of is Tony Gratofski in the guise of The Soundimals Tamer (Institut français d’Ecosse, 14–31 Aug). Part clown (check out the Krusty-like hair), part animal tamer, Tony hilariously blunders his way alongside his curious beasts. Also see: Centred (C south, 6–31 Aug); ErictheFred (Assembly Roxy, 8–30 Aug); Brickhead (Cowgatehead, 8–29 Aug); Spencer Jones (The Hive, 6–31 Aug).
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IS FOR INTERNATIONAL
Circuses have always been popular around the world, with China and Russia famously spawning renowned troupes. The British have always loved a good old Big Top and the French adore their clowns and mimes. Take your pick from these nationalities. From Canada, we have the hairy chaps from Cirque Alfonse with w BARBU Electro Trad Cabaret (Underbelly’s Circus Hub, 7–29 Aug), an examination into Montreal’s circus community at the beginning beg of the 20th century. Which seemed to involve the men bein being unable to keep their tops on and the women getting covered iin quite a lot of mud. Italy’s Liberi Di really do give us Something (Gilded Balloon, 5–31 Au Aug), with a show motto that goes like this: ‘when we fall to grou we discover just how strong we really are’. And from the ground Australi comes VELVET (Famous Spiegeltent, 5–30 Aug), a Australia g glitzy, glamorous disco and a stunning sexy cabaret. La Clique are co-pres co-presenting it which says almost everything you need to know. Also s see: La Meute (Underbelly’s Circus Hub, 7–29 Aug) from France; L’Enfant qui . . . (Institut français d’Ecosse, 7–29 Aug) from, um, France. Yes, the French are well up this circus thing. for th
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IS FOR REAL LIVES
Some might read flea circuses as a perfect metaphor for the workers being downtrodden under the mighty fist of cruel uber-capitalist management structures. To others, it’s just a flea circus. But in our contemporary age, the ring is perfectly capable of tackling serious iss issues and looking at real people’s lives. I the Palestinian Circus School’s B-Orders (Underbelly’s In C Circus Hub, 7–29 Aug), the Middle East is put under a m microscope while T1J’s Les Inouis (Underbelly’s Circus H Hub, 7–29 Aug) explores the modern-day slave trade and tthe migrants forced into such horrors.
Roll up, roll up: (main pic) Ockham’s Razor (clockwise from left) Sonics, Les Inouis, Puddles
A Also see: Barnum (Inverleith Church Hall, 7–15 Aug), in which PT’s story is told via the medium of musical theatre. list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 17
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If some of the previous acts sound just a bit heavy-going, you could always pop over to the many circus-related shows which will satisfy grown-ups while being a little more challenging fare for your kids and teens. Even the most expert sleight-of-hand magician loves a good old pun. Piff the Magic Dragon (Underbelly’s Circus Hub, 14–29 Aug) lives up to that billing. The mock-grumpy Piff (John van der Put) has a delightful pooch sidekick (Mr Piffles) and an array of tricks and patter. At 10.40pm, this 12+ show is a little on the late side, but if you can’t keep your wee ones up during a festival, when can you? At the more sociable time of 1.25pm, aerial theatre folks Ockham’s Razor (Underbelly’s Circus Hub, 7–26 Aug) give us a double-bill of their U-certificate award-winning shows, Arc and Every Action. And just to show that they are fully committed to the genre, Underbelly’s Circus Hub is laying on Family Circus Workshops throughout the festival period, run by those good people at Full Cirqle. Before you know it, your eight-year-old will be eating fire at the dinner table. As long as they still have their broccoli, it’s a worthwhile compromise. Also see: Trash Test Dummies (Underbelly’s Circus Hub, 7–29 Aug); The Hogwallops (Underbelly’s Circus Hub, 7–29 Aug).
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Les 7 Doigts de la Main (above); Piff the Magic Dragon (top); Cirque La Roux (right); Le Haggis (below)
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IS FOR UPSIDE DOWN
When all is said and done, some audiences just want to see other humans swinging from great heights, spiralling down lengthy ropes and spinning through the air at virtually inhuman angles. Happily, this lot have no fear. Gravity-defying acrobatics are meat and drink for the Italian team behind Sonics in Toren (Gilded Balloon, 5–31 Aug) and they also do a natty line in purple costumes, while 360 ALLSTARS (Assembly Hall, 6–31 Aug) explores all forms of rotation via breakdancing, basketball freestyling and Roue Cyr artistry. Les 7 Doigts de la Main have been dubbed as the group which will convince you it’s time to run away to the circus. Discover just how itchy your feet are after you get into Traces (Assembly Hall, 6–30 Aug). T Turning not just themselves, but the entire genre upside down are Circa, one of the true masters of this art. Their Close Up (Und (Underbelly, 5–31 Aug) promises an intimate treat as they mingle with th the audience to explore the story of just how an acrobat feels. Also see: L Limbo (Underbelly’s Circus Hub, 7–29 Aug); Wings in My Heart (B (Big Sexy Circus City, 7–30 Aug); Le Haggis (Assembly George Square Gardens, 6–30 Aug).
IS FOR STORIES
How do you tell a story in a circus performance? Concentrate a bit, and they’re there if you want to find them. The excellent Czech troupe Cirk La Putyka presents Dolls (Underbelly’s Circus Hub, 7–29 Aug), in which they unveil stories about obsession, joy and loneliness through trapeze, acrobatics and dance. And isn’t that what a modern circus show should be all about? More loneliness and joy in Tatterdemalion (Assembly Roxy, 5–31 Aug) as a man with a curious suitcase goes in search of a friend. With The Elephant in the Room (Underbelly’s Circus Hub, 7–29 Aug), the fabulous Cirque La Roux tell us where film noir meets contemporary circus as they deliver the story of a 1930s woman who has slinked away from her wedding party to find a trio of men and the titular beast in a secluded room. What can it all mean? Also see: Bromance (Underbelly’s Circus Hub, 7–29 Aug); Escape from Wonderland (Central Hall, 8–13 Aug). 18 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
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list.co.uk/festival | Edinburgh Festival Guide 2013 | THE LIST 19
JULIETTE BINOCHE
Binoche in Antigone (above), Three Colours Blue (below), Certified Copy (right)
‘GONE GIRL European icon and Hollywood star Juliette Binoche is diving into her role as Antigone with typical relish. She tells Yasmin Sulaiman why Edinburgh has such a strong resonance with her past
20 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
JULIETTE BINOCHE
PHOTO © JAN VERSWEYVELD
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t’s an unexpected place to meet up with an iconic French film star: the Café Rouge opposite St Paul’s Cathedral. But if Juliette Binoche is dismayed by the touristy representation of her country’s culinary culture at this London outpost of the restaurant chain, she doesn’t show it. The epitome of Hollywood chic, she’s had a late night (a party after the previous evening’s performance of Antigone at the Barbican) but she’s bright and alert, exuding casual glamour as we chat about her latest role. Over here, Binoche is most famous for iconic film parts in Krzysztof Kieslowski’s Three Colours trilogy, Louis Malle’s Damage, Anthony Minghella’s The English Patient, Abbas Kiarostami’s Certified Copy and, earlier this year, Olivier Assayas’ Clouds of Sils Maria. But she’s done stage work too, perhaps most famously starring in Akram Khan’s in-i and Frédéric Fisbach’s Mademoiselle Julie. Her current theatrical role is over two millennia old: Antigone. When we meet in early spring, Binoche is midway through the show’s London run. After that, the production of Sophocles’ famous Greek tragedy will tour Europe (including her Paris hometown) before arriving as part of the Edinburgh International Festival. ‘I saw Antigone when I was 18 years old,’ she says. ‘It stayed in me like a print.’ So when she met up with acclaimed Belgian theatre-maker Ivo van Hove (Antigone’s director) on the suggestion of the Barbican’s head of theatre Toni Racklin and Les Théâtres de la Ville de Luxembourg’s director Frank Feitler, it was a natural suggestion for a show to work on together; although Medea and Electra came up too. ‘Ivo said to me, “read Electra because there’s a wonderful translation”,’ she explains. ‘And he gave me [Canadian poet and classicist] Anne Carson’s translation, which I loved. I almost said yes to him and Electra because I was so taken by her writing and how direct it was and epic and lyrical and poetic and yet very real. So it was this combination that I really loved and then we saw each other again and I went back on to Antigone,’ she laughs. ‘And he listened, you know? So when he sees something that is really holding on, he doesn’t stick to an idea, he’s quite open in that way. So we were on the same page and we smoothly went into a big tour.’
Binoche and Hove might not have plumped for Carson’s translation of Electra, but they did ask her to work on Antigone for this production. The result is an impressively pared-back, contemporary adaptation, one that feels modern without compromising its classical roots. For those unfamiliar with Sophocles’ play, Antigone is the daughter of Oedipus. The action begins just after the death of Antigone’s brothers – Polyneikes and Eteokles – who kill each other while fighting for the throne. Kreon, their uncle and the new ruler of Thebes, decides to give Eteokles the proper funeral rites, but leaves Polyneikes on the battlefield, unburied. It’s this denial that pushes Antigone too far and over the rest of the play, she fights Kreon to honour her brother until the ultimately tragic end. It’s this dynamic between Kreon and Antigone that is the play’s propelling force. ‘You can see from an outside point of view that it’s one versus the other,’ says Binoche. ‘For me, it’s more that Kreon is not yet listening. And he will at the end of the play but it takes so many suicides,’ she laughs, ‘for him to hear what everybody is saying.’ In van Hove’s Antigone, Kreon is played by Patrick O’Kane who, along with the rest of the cast, gives a mesmerising performance. Together with Carson’s stripped-back dialogue, they help lend the play a strong contemporary feel that underlines Sophocles’ undying relevance. ‘What resonates in me when I read Sophocles is the need of truth, the need of growing, the need of awakening and the big question about how can we transform ourselves,’ she continues. ‘Because if we are here, there must be some kind of purpose and it is for each of us to find it. But we have this ability, throughout time, to transform ourselves and that’s a real gift, if you take it. We go through the same big themes as human beings which are, you know, possession, power and enjoyment. And so how do we go through this in order to reach another layer in ourselves? And I think Sophocles is really asking that question. Antigone is ready to let go of the power, let go of the possession and let go of the enjoyment. So in that way she is a key figure.’ Binoche, herself, puts in a powerful performance as Antigone, and it’s a role she evidently relishes. The actress is looking forward to bringing the show to Edinburgh, thanks in part to a family connection. ‘When my sister was 11 years old, she was sent to learn English in Edinburgh by our mother, and I’ve seen the pictures of my sister going here and there, so I’m looking forward to visiting the city she was in.’ In the early summer and after the tour she’ll be working on some more films, including producing with Polish director Małgorzata Szumowska for a project featuring writer Neil LaBute. But she’s philosophical and deeply committed to her role as Antigone too. ‘Choosing a role shouldn’t come from the head,’ says Binoche. ‘It should come from something more mysterious. I didn’t know I wanted to play Antigone, but when I met Ivo, I said, “yeah, let’s do Antigone”. It just came to my mind, because I forgot I’d seen Antigone when I was 18. But when I said it, it was so clear and obvious.’
‘Antigone stayed in me like a print’
Antigone, King’s Theatre, Leven Street, 0131 473 2000, 7–22 Aug (not 10, 17), 7.30pm, £15–£48. list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 21
The UK’s largest annual festival of visual art 30 July—30 August 2015 edinburghartfestival.com Festival commissions Charles Avery Marvin Gaye Chetwynd Julie Favreau Emma Finn Ariel Guzik Hanna Tuulikki Kemang Wa Lehulere Important historic and modern surveys Lee Miller and Picasso at Scottish National Portrait Gallery, M.C. Escher at Scottish National Gallery of Modern Art, David Bailey at Scottish National Gallery, John Bellany at Open Eye Gallery, James Morrison at The Scottish Gallery, significant surveys of Scottish art at The Queen’s Gallery and City Art Centre, Victorian photography at National Museum of Scotland
Registered charity no. SC038360 Company registration no. SC314596
22 THE LIST | Edinburgh Festival Guide 2013 | list.co.uk/festival
Solo presentations Phyllida Barlow at The Fruitmarket Gallery, John Chamberlain at Inverleith House, Kwang Young Chun at Dovecot Gallery, Charles Avery at Ingleby Gallery, Hanne Darboven at Talbot Rice Gallery, Beatrice Gibson at Collective, Tara Donovan at Jupiter Artland, Toby Paterson at Edinburgh Sculpture Workshop, kennardphillipps at Stills, Derek Michael Besant at Edinburgh Printmakers New generation artists The Number Shop, Rhubaba, Skinny Showcase, Edinburgh College of Art, Platform: 2015, a new festival initiative showcasing early career artists Art Late & Detours Acts include Phill Jupitus at Inverleith House, Carol Ann Duffy at Talbot Rice Gallery, Man of Moon at Collective, Miaoux Miaoux at National Portrait Gallery, Story Pocket Theatre at Jupiter Artland
ART LIST.CO.UK/FESTIVAL/ART
EDINBURTIGVHAL ART FES G 30 AU
COLLECTION GEMEENTEMUSEUM DEN HAAG, THE HAGUE, THE NETHERLANDS. © 2015 THE M.C. ESCHER COMPANY – BAARN, THE NETHERLANDS
30 JUL–
MC ESCHER He loved a good ‘impossible reality’ did Maurits Cornelis Escher. Many of his pictures displayed a mathematically inspired structure which appears to be normal at first glance, but on closer inspection hides a baffling physical detail. His 1961 ‘Waterfall’ is the perfect example of this with liquid pouring from the top of a watermill into a pool, yet then seemingly flowing back uphill all the way round again. Down the years, some science wags have attempted to show that it’s not actually that incredible, but let’s hold on to the mystical magic of art for a bit longer. This and other eye-bogglingly weird imagery is yours for the viewing until late September. Q The Amazing World of MC Escher, Scottish National Gallery of Modern Art, Belford Road, 0131 624 6200, until 27 Sep, 10am–5pm (until 7pm in Aug), £9 (£7).
list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 23
Bailey’s cream: (above) Kate Moss, 2013, Johnny Depp, 1995; (top) Jerry Hall and Helmut Newton, Cannes, 1983; (right) Self-portrait during National Service in Singapore, 1957 24 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
DAVID BAILEY ART
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PHOTO © STE
STARDUST MEMORIES
David Bailey has photographed everyone from Mick Jagger to Kate Moss and Desmond Tutu to Johnny Depp. As cultural commentator and ‘recovering style guru’ Peter York makes his Fringe debut, he analyses Bailey’s reputation and recalls being on the end of his mercurial working methods
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avid Bailey, the man who’s been practically everyone’s idea of a fashionable photographer for 50 years (an achievement in its own right), is marvellously grumpy now. If anyone looks like trapping him into anything remotely poncy and pretentious, he gets snappy. He says he was never interested in fashion (only in the girls wearing it), but even in his earliest work for Vogue, it’s obvious he understood exactly how young women would want to look, precisely because he was interested. And he’ll say, equally snappy, that some guys are just too sissy for him, though he acknowledges how he got his start from gay photographers and art directors and felt, at the time, that his cockneyness and their gayness made them a kind of outsider gang against the world. And while his legendary breakthrough East Endness (a complete early 60s change from a previous generation of smart upper-middle class photographers like Beaton and Parkinson) shapes his responses to absolutely everything, it’s obvious that Bailey was a sensitive, curious, different and dyslexic young man in his teens and 20s. He was out of line with his class and his East Ham contemporaries, bitter beyond words at being dismissed as thick at school because he couldn’t handle writing that well, but knowing – it’s clear he did know – that he could do something . . . artistic. His interests were photography, birdwatching and beautiful women. He was driven to get out from under; not to be nobbled by being a smallish, dyslexic cockney with no education and no contacts. He wanted to get out
of that place. When he even faintly suspects that he’s being patronised or boxed-up into cliches, he’s into fight or flight mode. Even now. Bailey’s assets, huge as it turned out, were talent (‘the eye’), drive and good looks. The right good looks and the looking-the-part looks (he didn’t like the David Hemmings version of his Look in Antonioni’s Blow Up). It’s this combination of talent and insecurity, so completely understandable when you’ve seen a bit of Bailey, that makes his Stardust exhibition so impressive in every way. It’s about what he’s responded to, on every level. Beautiful girls, of course: and they wanted him too, as all the contemporary accounts show, for his Johnny Depp-ish naughty faun looks and his sheer sexual eagerness. But then there are the men he can identify with, near contemporaries like his friend of 50-plus years, Mick Jagger. And the extreme situations he responds to, from Sudan for Band Aid to Papua New Guinea. It all came together for Bailey in that wonder year of 1963. He knew exactly what to do with it; with those early 60s people and their breakthrough moments, because he was interested in people and in what defines star quality. So, the near-300 photographs in Stardust (most taken as swiftly and simply as possible with no diversion from elaborate backgrounds, Big Ideas and studied compositions) are mostly rooted in the primacy of personality and its revelation. What is X really like, particularly under pressure, internal or external? What’s really going on here? What are those people’s lives like? list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 25
ART DAVID BAILEY Sadou New Delhi India, 2009; Francis Bacon, 1983
Bailey doesn’t want to impose a big political or aesthetic idea on his observations. He believes that if he follows his instincts then his fashion, his portraits, his reporting will work. The clothes will look desirable because the model does; the portrait’s subjects will reveal a lot about themselves; and the dynamic of a situation – famine victims or old cultures in the modern world – will be better explained than by a thousand expert words. In his book Blink, the cultural commentator Malcolm Gladwell explains how people with experience and an ‘educated eye’ can make judgements in a nanosecond that more plodding analysts, who do it by the book with statistics and scientific tests, can’t make in a lifetime. And then often they find it hard to explain or defend their conclusions. Bailey is like that: he knows how to read people and situations but he can’t say exactly how he does it, and he absolutely doesn’t want to be patronised or joshed for doing Grand Theory. So he over-corrects; he’s disingenuous about how he arrived at an insight; he’ll say it’s not that good, that he’s not doing things that way anymore as of yesterday. Anything to close the topic down. And in Outliers, Gladwell sets out to explain how legendary talents and surprising successes actually had a great deal in common, something that was widely read as a sort-of recipe for success: be in the right place at the right time, and have 10,000 or more hours of practice. Like millions of readers I liked this apparent demystification of the romantic idea of successes just emerging from under rocks and conquering all before them. But this reading – the basis of a billion Tiger Mothers putting their kids in for more homework or violin practice – leaves out the question of innate talent and of drive. 26 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
Bailey was in the right place at the right time and he put in the hours. But he was driven and talented too. The evidence is in Stardust, in the scale of the show, the breadth of the coverage and the extraordinary freshness of the pictures. He delivers, of course, all those key 60s people without them looking – mostly – period or dated. He’d focused on faces rather than clothes, props or compositions (the great betrayers of a dated sensibility). I’ve seen the Bailey approach in action. He photographed me thirtysomething years ago, and this is what it involved: a) turning up at his house in Primrose Hill; b) talking to him a bit in the kitchen – I can’t remember what about – but enough time for him to see how I looked and moved and talked and explained myself in an ‘ordinary’ situation, for him to develop his Blink idea of who I was; c) going somewhere else, posed on a stool, walked around and snapped. Talking time: 15 or 20 minutes. Snapping time about ten minutes max. No hair, make-up, props or Big Ideas. This perfunctory process produced the best photograph of me ever. It was done for Ritz magazine. I loved it and showed it proudly to anyone around. Then I forgot about it. This was before people thought about photography as framedup-on-the-wall art. I’ve wanted my own print for years now, but will the grumpy, grizzled old bastard give it to me? Apparently it’s in a deep cave somewhere in Sussex and they can’t find it. Bailey’s Stardust, Scottish National Gallery, The Mound, 0131 624 6200, 18 Jul–18 Oct, 10am–7pm (Aug); Mon–Wed, Fri–Sun, 10am–5pm, Thu, 10am– 7pm (Jul, Sep, Oct), £11 (£9); Peter York: How to Become a Nicer Type of Person, Assembly George Square Studios, George Square, 0131 623 3030, 17–31 Aug (not 24), 1.25pm, £10–£12.
‘Bailey would not be nobbled by being a smallish, dyslexic cockney with no education’
PHYLLIDA BARLOW ART
SET DESIGN Rachael Cloughton hears from Phyllida Barlow about her major new sculptural work and how it responds to an unusual exhibition space
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he idea behind Phyllida Barlow’s Edinburgh Art Festival exhibition and first solo show in Scotland came to her almost immediately. ‘I first visited the Fruitmarket Gallery on a dark gloomy day and was really struck by the space,’ says the Newcastle-born artist who was nominated this year for a South Bank Award. ‘The highly-lit upstairs gallery is stacked on top of a dark space downstairs, which is almost like a basement. It is quite unusual to use a double space, with one on top of the other, but very exciting.’ Barlow has made a body of sculptural work that responds to the contrasting, stacked spaces at the Fruitmarket Gallery. ‘Upstairs, a very large structure will sweep around the whole space and the staircase. Downstairs, there will be smaller objects that have spilled out from it,’ the artist explains. ‘The work in the upper gallery is to be walked around and looked into whereas downstairs will be filled with smaller works, shaken out from the barricaded space above. The two spaces will present very different experiences but they will be united by a shared visual language.’ Now 71, Barlow has worked with sculpture throughout her career and has developed a distinctive practice, creating works that are often monumental in size and made from what she describes as ‘cheap, immediate materials’. The pieces in her EAF show will be constructed from cement, plaster, timber structures, paint, polystyrene, paper and fabric. Materials from the artist’s previous work (including her major exhibition at the Duveen Gallery, Tate Britain, in 2014, and flat boards from her show at Ludwig Forum für Internationale Kunst in Aachen, Germany, in 2012) will also be recycled into the new pieces.
Barlow describes the re-use and appropriation of artworks and materials as a process of ‘damage and repair’. It’s also a reflection of how she perceives the world. ‘The way you see homes, places, locations brutalised by nature or war has made us familiar with damage and what it does to public and private space. That information infiltrates the work; sculpture is a process of changing things and building them up again.’ Barlow will make the smaller pieces in the show alone, while a team of assistants will help her construct the large, cascading work in the upper gallery. Given the process-led nature of Barlow’s output (‘the quest to find out what the work is’), a solitary way of working is what the artist prefers. ‘I can use materials very directly without having to explain or readjust the way things unfold,’ she says. ‘It is harder to sustain this with the larger works, although this is the intention. Making big works is fraught with all sorts of complications about how I let go of a certain ownership. The direction of the work is mine but the process is shared between the assistants and myself.’ Barlow’s festival show, set, presented new challenges, too. All the works had to be transported from her studio in Hornsey, north London, and installed over a ten-day period, which Barlow conceded wasn’t as long as she would have liked. ‘The work I have planned is very ambitious and all built in situ,’ she explains. ‘But that’s a very festive thing to do; everyone comes with something for the festival and it’s all developed on site. I wanted to bring an event to the Fruitmarket Gallery.’ Phyllida Barlow: set, Fruitmarket Gallery, Market Street, 0131 225 2383, until 18 Oct, 10am–7pm (Jul, Sep, Oct); Mon–Sat, 11am–6pm, Sun, noon–5pm (1–25 Aug), free.
list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 27
ART THE IMPROBABLE CITY
Charles Avery: Duculi
CITY OF DISCOVERY Its ‘fairytale topography’ convinced Sorcha Carey that Edinburgh was perfect for a major project on forgotten locations. Rosie Lesso talks to the EAF director about experimentation and alternate worlds
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long with Edinburgh Art Festival’s usual jam-packed programme of gallery-based events and exhibitions, seven international artists have been commissioned to create work in a series of unlikely and forgotten locations across the city. Director Sorcha Carey brings these artists together under the umbrella of The Improbable City, a title taken from Invisible Cities, Italo Calvino’s 1972 collection of 55 fictional prose poems. In Calvino’s book, the 17th-century explorer Marco Polo describes a series of 55 fantastical cities to the ageing emperor Kubla Khan. Many of today’s readers now consider the text as an alternative, creative language for re-interpreting urban space. For Carey, the topic is ideally made for the city of Edinburgh, filled with literary history and what she calls ‘fairytale topography’, before adding, ‘a festival offers a natural home for the improbable; a moment when we are instinctively more open to discovery and experimentation.’ All of the seven selected artists vividly conjure alternate worlds which are based on a range of real experiences. In this new context, each artist aims to create a resonance with the spaces they inhabit, while also igniting them with imaginative possibilities, inviting us to consider them anew. Charles Avery is no stranger to the improbable, so it seems fitting that his ambitious intervention should be right in the city’s heart, nestled within Waverley Station. On site, Avery will position a bronze tree standing over five metres tall which will be embellished with surreal hanging
fruit. The tree is taken from the Marvin Gaye Chetwynd: ng municipal park in his ongoing Home Made Ta sers s’, drawing project ‘The Islanders’, ty, set within his fictional island city, ‘Onomatopoeia’. is It sits close by to his accompanying solo exhibitionn at Ingleby Gallery, who describee the Waverley sculpture ass ‘part plant, part sculpture, partt temple, offering a meetingg point or a place for momentaryy escape and contemplation.’ Not far away, former Turner Prize nominee Marvin Gaye Chetwynd will construct a performative installation in the debating chamber within the derelict Old Royal High twynd is wellAlongside Avery and School on Calton Hill. Chetwynd Chetwynd’s works will be a series of projects known for retelling elements of cultural history throughout Edinburgh from Ariel Guzik, through elaborate, theatrical performances, so Emma Finn, Hanna Tuulikki, Julie Favreau and it’s easy to see why she would be drawn to the Kemang Wa Lehulere. For Carey, this year’s crumbling, neoclassical building that has been programme is more ambitious than ever, and sitting empty for decades. Her project takes its title, ‘The King Must continues to provide a platform for grassroots Die’, from Mary Renault’s elaborate and and more established talent. ‘We’re delighted highly acclaimed 1958 novel set in ancient to expand the ambitions of our commissioning Greece, perhaps a nod towards Edinburgh’s programme. There are seven new projects by accolade as the Athens of the North. She will leading and emerging artists, including some of also make reference to the internationally the very best practitioners from Scotland and recognised, contemporary Czech artist and several international artists showing in the UK stage designer Josef Svoboda, who described for the very first time.’ himself as a ‘scenographer’, creating magical The Improbable City, various venues, and otherworldly stage sets using a variety of 0131 226 6558, 30 Jul–30 Aug. multimedia techniques.
28 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
HIGHLIGHTS ART
OTHER HIGHLIGHTS From pop art legends to cubist icons, and the ‘Crushed-Car Sculptor’ to sound artists making us rethink our city streets, we pick out other events and exhibitions you should catch LEE MILLER & PICASSO A mutual appreciation society existed between the Spanish painter and the American photographer. See the images which bear witness to their long-standing friendship. Scottish National Portrait Gallery, Queen Street, 0131 624 6200, until 6 Sep, Mon–Wed, Fri–Sun, 10am–5pm; Thu, 10am–5pm (Jul, Sep); 10am–7pm (Aug), £9 (£7). KWANG YOUNG CHUN: AGGREGATIONS The first solo exhibition in Scotland of this acclaimed Korean artist with work influenced by both Abstract Expressionism and childhood memories. Dovecot Gallery, Infirmary Street, 0131 550 3660, 31 Jul–26 Sep, Mon–Sat, 10.30am–5.30pm (Jul, Sep); 10am–6pm (Aug). THE CAPERCAILLIE’S SONG Curated by Helen, his widow, lifelong muse and inspiration, this John Bellany exhibition features several
works drawn from the pair’s private collection including a series of largescale oils, early drawings from the 1960s and some monochromatic etchings. Open Eye Gallery, Abercromby Place, 0131 557 1020 / 558 9872, 3 Aug–2 Sep, Mon–Fri, 10am–6pm, Sat, 10am–4pm. HANNE DARBOVEN: ACCEPTING ANYTHING AMONG EVERYTHING This is the first Scottish exhibition of the late German artist who viewed her work as a form of writing. Through that avenue, she was keen to ally herself to the literature of diverse talents such as 19th-century poet Heinrich Heine and 20th-century existentialist Jean-Paul Sartre. The collection explores the way she continually challenged how art should be made. Talbot Rice Gallery, South Bridge, 0131 650 2210, 31 Jul–3 Oct, Tue–Fri, 10am–5pm, Sat, noon–5pm (Jul, Sep, Oct), Mon–Fri, 10am–5pm, Sat & Sun, noon–5pm (Aug). Lee Miller & Picasso
Hanna Tuulikki
SARAH HARDIE: SONGS FOR SOMEONE WHO ISN’T THERE Music and poetry take to the capital’s streets with a series of lullabies from various artists which aim to reflect on the silence of the human voice in our otherwise hectic public spaces. So, put your phones away and listen up. Old College, South Bridge, 0131 226 6558, 1 Aug. ROY LICHTENSTEIN One of pop art’s most iconoclastic figures, Roy Lichtenstein’s ‘comic book’ women are out in strength at this exhibition as well as a steel interpretation of Monet’s ‘Water Lilies’. Scottish National Gallery of Modern Art, Belford Road, 0131 624 6200, until 10 Jan, 10am–5pm (Jul, Sep); 10am–7pm (Aug). PLATFORM: 2015 Four artists from across Scotland have been selected from an open call by Christine Borland and Craig Coulthard for this new festival initiative dedicated to providing greater opportunities for artists at those notoriously difficult early stages of their careers. 9–11 Blair Street, 0131 226 6558, 30 Jul–30 Aug, 10am–6pm.
DENNIS AND DEBBIE CLUB: THE STRIP German-born, Glasgow-based pair Reinmüller and Moody have constructed an audio-visual installation to recreate locations such as a crater on Mars and the greenhouse where Kurt Cobain was found dead. CodeBase, Lady Lawson Street, 0131 560 2003, 1–30 Aug, Sat & Sun, 10am–6pm; digital workshops Sat & Sun, 2–4pm. HANNA TUULIKKI: SING SIGN Playing with the acoustic possibilities of architecture, artist and composer Tuulikki has created another intriguing work, this time within the mediaeval confines of Edinburgh’s historic ‘closes’. 477b Lawnmarket, 0131 226 5856, 30 Jul–30 Aug, 10am–6pm. JOHN CHAMBERLAIN The late Chamberlain worked with a broad range of materials, but was best known for his work with scrapped motor vehicles, eventually being dubbed the ‘Crushed-Car Sculptor’. Inverleith House, Inverleith Row, 0131 248 2971 / 2849, 18 Jul–4 Oct, Tue–Sun, 10am–5.30pm. Q All events on every day and free, unless stated.
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BOOKS LIST.CO.UK/FESTIVAL/BOOKS
EDINBURGH INTERNATIONAL BOOK FESTIVAL 15–31 AUG
STIK His work has been displayed everywhere from closed school buildings in Japan to condemned tower blocks in west London, and New York’s Union Square to Norway’s remote islands. Inevitably, this east London graffiti artist’s minimalist stick men and women can be seen hanging up in the homes of Bono and Elton John, having initially decided to paint on walls to make the work somewhat more difficult to steal than paper drawings. Stik’s aim is to make art that doesn’t necessarily scream ‘look at me!’ because his stick folk are pretty well looking at us. And not saying anything as they have no mouths. Creepy, but effective. Q Charlotte Square Gardens, 0845 373 5888, 29 Aug (with Ryan Gattis), 8.45pm, £7 (£5).
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BOOKS ALAN CUMMING
TAKE A LETTE R As Aberfeldy’s most famous son pops into Edinburgh to talk with Ian Rankin about his memoir, Rowena McIntosh compiles an A-Z of Alan Cumming, featuring fragrances, passports and a dog called Honey
A IS FOR AWARDS Lining his impressive trophy cabinet are an Olivier, a Tony and a British Comedy Award for acting as well as an Independent Spirit Award for producing and an Earphones Award for his memoir’s audiobook.
B IS FOR BLOODY MARY
bras, the disgusting smell of Veet and the trials of getting out of a car without opening your legs.
E IS FOR EUROVISION He is a staunch fan, describing the annual contest as ‘like Christmas or Thanksgiving but without the family feuds and with a pretty racy bpm’.
His mandatory pre-flight ritual.
F IS FOR FRAGRANCES
C IS FOR CABARET
Those released into the atmosphere include Cumming and Second Cumming.
Cumming has played the role of the Emcee in three separate productions of the flamboyant musical. Starring opposite Jane Horrocks, Natasha Richardson, Michelle Williams and Sienna Miller as Sally Bowles, he has totted up some ‘808 and a half’ performances.
D IS FOR DESRAE The name of the transvestite drag queen played by Cumming in The Runaway, a 2011 TV series based on Martina Cole’s novel. Dressing for the character brought him a new level of respect for women as he experienced uncomfortable 32 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
G IS FOR THE GOOD WIFE This American TV series features Cumming as Eli Gold, a political strategist with immensely dexterous eyebrows. The show, now in its fifth season, was the first time he had played a character over a number of years.
H IS FOR HONEY The pet dog who starred alongside him as he introduced cult films for the Sundance Channel series Midnight Snack. He currently has two dogs named Jerry and Leon.
I IS FOR I BOUGHT A BLUE CAR TODAY This 2010 cabaret show was the last time he appeared at the Festival and featured show tunes as well as stories about everything from his gay rights campaigning to net curtains in Bute House.
J IS FOR JAMES BOND Cumming starred as Russian computer programmer Boris Ivanovich Grishenko in GoldenEye. In other East European matters, he played a Scot with Czech heritage for his debut film Prague, which premiered at Cannes in 1992 and earned him a Scottish BAFTA nomination.
K IS FOR KIDS’ FILMS On his CV are the Spy Kids trilogy, The Flintstones in Viva Rock Vegas and animated films Garfield the Movie and The Smurfs.
L IS FOR LISA KUDROW The Friends star played opposite him in his first Hollywood movie, 1997’s Romy and Michele’s High
ALAN CUMMING BOOKS
School Reunion. Cumming later guest-starred on her improvised internet series Web Therapy.
M IS FOR MEMOIR Subtitled ‘A Family Memoir’, Not My Father’s Son is far from a traditional autobiography, with the book looking back on his complex relationship with an abusive father. It also documents Cumming’s journey to discover more about his maternal grandfather.
N IS FOR NATIONAL THEATRE OF SCOTLAND Cumming played the lead role in their production of Bacchae which opened in Edinburgh and toured Scotland before transferring to London and New York, as well as all the major roles in their run of Macbeth.
O IS FOR OBE It was awarded to him in 2009 for ‘services to film, theatre and the arts and to activism for equal rights for the gay and lesbian community’. His mum, brother and husband attended the palace with him.
P IS FOR PATRON
T IS FOR TAGGART
NORM-UK is a charity which aims to advance education in all matters related to circumcision and surgical alteration of the genitals. As part of that campaign, Cumming authored the brilliantly titled May the Foreskin Be With You.
He might be a Hollywood star now but every Scottish actor worth their salt has done a stint on the enduring detective series. Cumming played Jamie, a chemistshop boy wrongfully suspected of murder.
Q IS FOR QUESTION TIME
U IS FOR US CITIZENSHIP
Cumming was a panellist in 2012 where he came out on top in a verbal clash with Lord Forsyth over Scottish independence.
R IS FOR ROWAN ATKINSON The rubbery-faced one starred alongside Cumming in Richard Curtis’ 1991 Christmas TV drama Bernard and the Genie. The heartwarming romp featured cameos from the unlikely trio of Melvyn Bragg, Bob Geldof and Gary Lineker.
S IS FOR ‘SCOTTISH ELF TRAPPED INSIDE A MIDDLE-AGED MAN’S BODY’ The description he chose for himself when joining Twitter.
In 2008, Cumming became a joint citizen of America and Britain, a decision he took so he could vote for Obama after deciding that he had to ‘stop bitching on’ about Bush and do something constructive.
V IS FOR VICTOR AND BARRY The characters created by Cumming and his friend Forbes Masson at drama school. The pair enjoyed two Perrier Pick of the Fringe seasons in London before they were killed off on stage at the London Palladium.
W IS FOR WHO DO YOU THINK YOU ARE? In 2010, the BBC programme which reveals celebrity genealogies
helped him trace the life of his maternal grandfather. Tommy Darling was a decorated WWII dispatch rider with the 1st Cameron Highlanders. After the war he joined the Malayan police force and never returned to Scotland.
X IS FOR X-MEN In the franchise’s 2003 sequel (X2: X-Men United), he took on the role of Nightcrawler, a blue-skinned, barbed-tailed mutant who attempts to murder the president.
Y IS FOR YES A strong supporter of Scottish independence, he travelled back to his native country to campaign in the run-up to the referendum.
Z IS FOR ZEKE, CHUCK AND RUPERT Characters voiced by Cumming in the stop-motion animated sitcom Rick & Steve: The Happiest Gay Couple in All the World. Alan Cumming with Ian Rankin, Charlotte Square Gardens, 0845 373 5888, 29 Aug, 8.15pm, £10 (£8).
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BOOKS LOUISE STERN
SIGN OF THE TIMES
Growing up in a close-knit deaf community has given Louise Stern a particular literary voice. The American author tells Rebecca Monks about language, words and their place in the world
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anguage is simply a tool to express concrete reality, not an end in itself,’ says author Louise Stern, as she reflects on its place in her first novel, Ismael and His Sisters. Set in a village in Mexico, where the inhabitants exclusively use sign language, the book explores how three deaf siblings exist in a world where the spotlight is turned on communication, and language is both a bridge and barrier between a self-contained community and the wider world. ‘Language is often used to control and intimidate rather than to clarify or communicate,’ Stern insists. ‘It’s all too easy to take it for granted. The main characters of my novel have a different experience of language than most people in the world, and I hope that their story gives a fresh angle on what it means to try and make yourself understood, and to try and filter the world through words.’ As a deaf writer growing up in a close-knit deaf community in California – which she describes as a ‘fiercely proud and loyal group of people with a beautiful language at their core’ – the strength of her writing lies in an ability to translate personal experiences into fiction. ‘Communication was always at the forefront of my life and that of my family’s. I grew up with people unable to communicate with anyone, who couldn’t take language for granted. That was good preparation for writing this novel.’ Ismael and His Sisters, then, feels almost cathartic to read, something that she acknowledges was a part of the writing process. ‘I always struggled with a particular sense of the world that I felt I had to express. This novel isn’t a perfect book, but for the first time I feel I’ve said what I needed to.’ Though she is a relatively new writer (Chattering, her book of short stories, was published in 2011), there is a strong authorial voice that resonates in her work and a sense, as she astutely puts it, of saying what needs to be said. This becomes particularly apparent when asked how she feels the deaf community is
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represented in the arts. Her response is clear, blunt, and wonderfully exact: ‘horribly’. Explaining further, she says: ‘my sister, also deaf, is an actress in Hollywood and we have an ongoing conversation about the vacuity of the material she is asked to consider. Roles are most often written with little to no real understanding of the deaf community or the deaf experience. When convenient, roles are given to hearing actors while deaf actors are very rarely considered for non-deaf roles. On the rare occasion that feedback is asked for, it’s often in a way that smacks of tokenism. For the most part, this is true for deaf characters in literature as well, although I like the deaf character in Carson McCullers’ The Heart is a Lonely Hunter.’ Stern’s writing is the perfect antidote to tokenism. It is full of characters carved from knowledge, experience and heart; something Edinburgh audiences can observe for themselves when the author appears here in August. Working with Omar Elerian, an associate director at
LOUISE STERN BOOKS
First writes
The Book Festival is awash with fresh writing talent and here’s a quintet of strong debut novelists appearing in Charlotte Square
PHOTO © ANDY SAPEY
TIM CLARE One of the Aisle 16 poetry boyband chaps released his debut fiction this year with The Honours. Compared favourably to the work of Philip Pullman and Neil Gaiman, it features a 13-year-old girl seeking to expose a society’s leaders for their potentially warmongering ways. 16 Aug, 8.45pm, £7 (£5).
KIRSTY LOGAN After producing a short story collection, the former books editor of The List gave us a criticallyacclaimed debut in The Gracekeepers. With the world covered by water, a storm brings two girls together and results in their worlds changing forever. 18 Aug, 10.15am, £10 (£8).
YURI HERRERA PHOTO © STEVE FISHER
Signs Preceding the End of the World heralded the arrival of a Mexican literary star. Set along the US border, it focuses on Makina, a young woman who has managed to survive in a macho universe but has now left that life behind to search for her brother in America. 19 Aug, 5pm, £7 (£5).
AMY MASON London’s esteemed Bush Theatre, Stern and her long-time interpreter and collaborator Oliver Pouliot are presenting a creative performance / reading of the book, followed by a moderated discussion on its content. It’s a chance for her to communicate with audiences the way her characters communicate on page: thoughtfully, honestly and memorably. The performance will be a unique expression of her literary work, though this is not the first time she’s experimented with exploring creative ways of presenting her writing. ‘I’ve worked with different media – video, performance, photography for example – trying to understand how I could remain faithful to the visual nature of sign language and to its visceral, dramatic essence through written words without betraying my community,’ she says, while acknowledging
that the whole experience for her has been ‘a process’. That process has taken Stern around the world and she now brings her work to Edinburgh, the City of Literature and home to a massive celebration of the written word. While she admits that appearing on a bill alongside some of the world’s greatest authors is somewhat intimidating, ‘it’s mostly inspiring and a motivation to keep going. Edinburgh definitely has something that I identified with literature while growing up: an appreciation and characterful-ness.’ That is a description which could easily be applied to Louise Stern herself: full of character and irrevocably linked with the language of literature. Louise Stern, Charlotte Square Gardens, 0845 373 5888, 30 Aug, 7pm, £7 (£5).
Winner of last year’s Dundee International Book Prize, The Other Ida follows two sisters coping with the death of their mother, a savage and secretive writer who named her daughter Ida after an infamous play she’d penned. As the siblings struggle to control their own worries, troubling memories start to rise up. 20 Aug, 8.45pm, £7 (£5).
CHIGOZIE OBIOMA From this promising Nigerian-born author comes The Fishermen, a tale told through the eyes of a nine-year-old boy and the youngest of four brothers. When they skip school one day, they encounter a would-be shaman who foretells that the eldest sibling will eventually be killed by a fisherman. Booker winner Eleanor Catton called the novel ‘mythic’. 26 Aug, 5pm, £7 (£5). Q All events at Charlotte Square Gardens, 0845 373 5888.
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Punchlines hlines e bruis bruise e rib ribs as a stand-up delivers. Actors break a leg, and hearts, with powerful performances that give you shivers. A maze of amazing street performances, a lively debate where e no-one no-one talks, alk a comedian ttrapped behind a door…knock, knock. Cast members bow down, filling up with wit elation, elat , the audience clap hands and stand for an ovation. Dramatic dancers touch to the sky, you desperately try ry not to cry, and d catching cat hing a show sh y you’ve never even heard of… but it’s the best thing you’ve ever seen. And that, that’s just day one!
Edinburgh Art Festival 30 July—30 August 2015 edinburghartfestival.com Art Late & Detours The UK’s largest annual festival of visual art presents a series of live performances across music, spoken word, comedy and theatre throughout August. Acts include Phill Jupitus at Inverleith House, Carol Ann Duffy at Talbot Rice Gallery, Man of Moon at Collective, Miaoux Miaoux at National Portrait Gallery, performance for family and children by Story Pocket Theatre at Jupiter Artland
Registered charity no. SC038360 Company registration no. SC314596
Find out who’s performing this year 07-31 August 2015
edfringe.com
36 THE LIST | Edinburgh Festival Guide 2013 | list.co.uk/festival
Tickets from £4 Visit edinburghartfestival.com or the Edinburgh Art Festival Kiosk, 9-11 Blair Street, EH1 1QR @edartfest #EAFevents
KATE TEMPEST BOOKS
STORM FORCE
Spoken-word guru Luke Wright was impressed when he first saw Kate Tempest perform. Audiences, critics and judges have joined him in being blown away by the London poet’s skills. Here, he pays tribute to her diverse talents
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n autumn 2006, I did a gig at the OneTaste all-dayer at The Bedford in Balham. The venue was rammed, with the audience pushing between rooms to take in a variety of singer-songwriters and poets (we didn’t call them ‘spokenword artists’ back then). I joined the throng in search of new talent to programme for Latitude’s burgeoning poetry arena. In a small upstairs room, a teenage girl was gripping a microphone, clutching at her stomach, blonde curls hanging down in front of her face as she spat her words with venomous passion. In between poems, she looked at us dazed and a little nervous like she was coming up for air. It was almost too much. In fact it was too much: I couldn’t make out half the words through the ferocity of her flow and she wasn’t able to fully take the audience into her trance-like performance. But there was no doubt we were witnessing the raw ingredients of something very, very special indeed. Afterwards, I joined a crowd of well-wishers and gave MC Excentral Tempest my card (I know, right, get me: what a big shot) and told her to get in touch about Latitude. She never did. Of course not: she didn’t need to chase gigs, even back then. She came anyway, as part of a collective called A Poem In Between People and did a ten-minute ‘New Voice’ slot. That was 2007. By 2011, she was headlining the whole bill, playing to 1500 people crammed into every last corner of our modest tent. Thankfully, by then she’d dropped the ‘Excentral’ bit. There are many strings to Kate’s bow. There’s the Mercury Prize-nominated album, Everybody Down (she was robbed, mate!), a layered rap fable populated with complex, believable Londoners. There’s the Ted Hughes Awardwinning ‘Brand New Ancients’, an epic, free-verse poem that works as well off the page as it does as part of a funk band-scored live show. There are her two hugely popular plays, Wasted and Hopelessly Devoted, produced with top
new-writing company Paines Plough. And then there’s the poetry collection, Hold Your Own, which explores the Tiresias myth through a series of (mostly) personal poems. It’s this that most interests me about her work. I was lucky enough to spend a week with Kate in 2009 on an Arvon creative writing course I was teaching with Francesca Beard. By that time, we had gigged together a fair bit so when I was told she was going to be one of my students, I felt a bit embarrassed: sure, I was older, but did I have to teach this prodigious talent? I needn’t have worried; Kate was humble and eager to do any of the exercises I set. I did some work on sonnets, setting the group the task of writing a quatrain in ten minutes. When we read our results out, Kate had a whole Shakespearean sonnet and she nailed the couplet too! I’ve always enjoyed Kate’s writing when she tames it for the page, and Hold Your Own is no disappointment. That’s why she was the first person Becky Fincham and I approached when we came to programme our second Babble On strand of spoken-word events for the Edinburgh International Book Festival. Kate will be doing two events: a performance and an in-conversation hour with her editor Don Paterson. You should come and see what all the fuss is about. • Kate Tempest with Don Paterson, 18 Aug, 8.15pm, £10 (£8); Kate Tempest, 19 Aug, 8.15pm, £10 (£8); both events at Charlotte Square Gardens, 0845 373 5888; • Luke Wright: What I Learned from Johnny Bevan, Summerhall, 0131 560 1581, 8–30 Aug (not 18), 4.55pm, £12 (£10). Preview 7 Aug, £6; • Luke Wright: Stay-at-Home Dandy, Underbelly, Cowgate, 0844 545 8252, 8–30 Aug (not 18), 6.20pm, £10–£11 (£9–£10). Previews 6 & 7 Aug, £6. list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 37
BOOKS HIGHLIGHTS
OTHER HIGHLIGHTS Yet again, Charlotte Square Gardens plays host to a plethora of talents, from the daddy of Tartan Noir to a civil rights legend, and the First Minister to an arch political satirist MARILYNNE ROBINSON
In Lennie Goodings’ Guest Selector strand, the prize-winning Idaho author helps open up this year’s proceedings. Robinson’s Gilead won the Pulitzer in 2005 while four years later Home scooped the Orange. Other books such as Housekeeping and Lila are both fantastic literary achievements all of their own. 15 Aug, 11.45am, £10 (£8). ALI SMITH Our favourite Cambridge-based Invernesian author (OK, maybe that’s not such a busy field) just keeps on improving with each book. And when she finally thinks she can put the last one to bed, she only goes and gets another award: this time, Smith recently added the Baileys prize to the several gongs she’s received for How to Be Both. Here, she delivers The Pen / HG Wells Lecture and chats about that very special novel with Stuart Kelly. 15 Aug, 2.15pm; 16 Aug, 11.45am, £10 (£8). FRANK COTTRELL BOYCE Our pick of the children’s programme is aimed at the 9–12 age bracket as the man who has worked with Danny Boyle, Alex Cox and Michael Winterbottom (and on Coronation Street) lets us tuck into The Astounding Broccoli Boy. This is the tale of a lad whose skin has inexplicably turned bright green. 16 Aug, 5.45pm, £4.50. SHAMI CHAKRABARTI The director of Liberty is not a massive fan of the British government’s plans to scrap the Human Rights Act and she’ll no doubt be using her appearance here to state the case for its retention. Kate Mosse is in the chair for this one. 19 Aug, 3.15pm, £10 (£8). 38 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
VAL MCDERMID WITH NICOLA STURGEON A top-notch crime writer meets one of her biggest fans. Politics will be put to one side today, though, as the Fife scribe gets to talk books with the First Minister. 26 Aug, 6.45pm, £10 (£8). WILLIAM MCILVANNEY
GEORGE THE POET One of the young breed of conscience-led poets, George Mpanga is a participant in Babble On, the festival’s spoken-word strand. His debut collection, Search Party, will be out in force today. 21 Aug, 8.15pm, £10 (£8). JESSE JACKSON It’s undoubtedly a spectacular coup to get the good reverend on board, and his presence in Edinburgh will surely heighten the festival’s global profile. At a time when the USA is experiencing huge strife in its race relations, this heavyweight civil rights activist will have plenty stories and opinions to enlighten us with. 22 Aug, 8.15pm, £10 (£8). YASMIN ALIBHAI-BROWN & BIDISHA Tackling the issue of identity, these two respected commentators will be delving into Britain’s immigrant stories and wondering just what it takes for someone to leave everything behind to seek a better life far away from home. 25 Aug, 2.15pm, £10 (£8). Shami Chakrabarti
The readily acknowledged creator of Tartan Noir, this Kilmarnock lad will be musing over ordinary people’s lives and the majesty that can exist within them. 27 Aug, 6.45pm, £10 (£8). STEVE BELL As part of Stripped 2015, the bearded cartoonist will be recalling the general election that has just gone by and the work he created in this most curious of campaigning years. How did the 2015 vintage compare to the battles of yore? 28 Aug, 5pm, £10 (£8). Q All events at Charlotte Square Gardens, 0845 373 5888.
Join the adventure! 800 authors from 55 countries in 750 events over 17 days including: Ali Smith Sarah Waters Alan Cumming Paul Merton Jesse Jackson Caroline Lucas A L Kennedy Michel Faber Kate Tempest Ian Rankin Janice Galloway George the Poet Sarah Winman Jenny Erpenbeck Joanne Harris Colm T贸ib铆n Shami Chakrabarti
Edwyn Collins Viv Albertine Alain Mabanckou Steve Bell Tracey Thorn S J Watson Marilynne Robinson Celia Imrie David Mitchell Julian Clary Browse events and buy tickets: www.edbookfest.co.uk
list.co.uk/festival llis i t.c co.u o uk/f o. k/f / est e iva v l|E Edi Edinburgh in nbu burgh Fe F Festival sti t val al Gu G Guide ide e 201 2 20 2013 0 3 | THE THE LI L LIST IS ST T 39 39
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FILLS MONKEY Who would have thought that just two guys on drums could provide a vibrant and energetic hour of innovation and drama? Well, any doubters should take a peek at the duo of Sébastien Rambaud and Yann Coste whose stick-twirling, hi-hat bashing and whiplashinducing performances have proved irresistible to audiences around the globe. Yes, but do they have some kind of celebrity endorsement? That’s all anyone seems to care about these days. Well, Ewan McGregor loved it so much, he saw it twice in Paris with his daughter, leaving this in the comments book: ‘fucking brilliant!’ That good enough for you? Q Fills Monkey: Incredible Drum Show, Pleasance Courtyard, Pleasance, 0131 556 6550, 8–31 Aug (not 12, 17, 25), 5.30pm, £10.50–£13.50 (£9–£11.50). Previews 5–7 Aug, £8.
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LUISA OMIELAN COMEDY:FRINGE
BAE WATCH
How does Luisa Omielan know she’s finally made it? A veggie burger has been named after her, that’s how. Claire Sawers talks career highs and diva huffs with the London comic who wants you to believe her act is 110% real
L
uisa Omielan is lamenting her rapidly fading tan. She’s not long back from Thailand, a holiday she’d promised herself at the end of a two-and-a-half month comedy tour around Australia. She flew her sister and mum out as her entourage and posted photos of them all on Instagram: posing next to the Thai Ronald McDonald, pretend-pouting in infinity pools, failing at stand-up paddle boarding. ‘Aw mate, you should have seen it two weeks ago! I was really brown. I mean I looked Indian; I loved it! I was like, proper mixed race, bae. Now I’m just a regular pasty white girl again, wearing head to toe white clothes for nothing.’ A friend suggested she top it up with a fake tan. ‘Nah, I don’t want to fake it; it’s not as cool if it’s not natural, innit? You can always spot the fake ones anyway.’ Which pretty much sums up the Omielan guide to realness. Was she in character when she delivered her smash-hit breakthrough show, What Would Beyoncé Do?!, back in 2012? In that one, she hits rock bottom after a grim break-up and a suicide attempt by her brother, comforting herself with sandwiches and looking to Beyoncé as her imaginary spirit guide. Did she exaggerate all that stuff about wanting to be as big a star in the comedy world as Bey is in the pop world? No sir. All real. All Omielan. ‘It’s 110% real. It’s truthful. I’m not in character,’ confirms the 32-year-old Londoner, ordering herself a latte in a café near Covent Garden, then promptly spilling a decent amount of it down someone by mistake. It’s the kind of detail that could easily pop up on her Twitter later, another example of her ‘#nailinglife’. So real was her debut solo show, in fact, crowds and critics alike helped it become a huge sleeper hit of the 2012 Fringe. Her free performance, upstairs in the Meadows Bar (‘next to a toilet’), led to five-star reviews, a world tour, a recent Barry Award nomination in Melbourne, and a spin-off book deal, signed in March this year. The Meadows Bar staff even named
a burger after her the following year. ‘It was a fried egg on a veggie burger, with cheesy wedges on the side. They called it the Luisa Burger and I then knew I’d made it,’ she sniffs casually, with some of her trademark mock rock-solid confidence. While a lot of her material deals very charmingly with being a loser, she seems to be ‘smashing it’ fairly hard right now. There’s a video of her on Facebook filmed recently during the WWBD?! Australian tour, talking about her ‘thigh gap’, or rather, her defiantly proud lack of one, which has had nearly 10 million views and rising. Her worries about not translating well with Australian crowds turned out to be unnecessary. ‘You worry before you go in front of any new crowd. “Will they even get any of it?” Sometimes they laugh at totally different bits from what you’re expecting. It’s weird, but good weird. I’d come off stage and think they hated it. Then someone would come up after to say “thanks”.’ She breaks into a cartoon Aussie accent, gushing with praise. ‘“You’re soy great, we royly, royly laiked you!”’ She’s laughing now. ‘I’d be all like, “er, well, why didn’t you fucking show it then?” Come on, guys, meet me fucking halfway.’ Just as she’s honest about her tragic moments, her work insecurities, her flashes of euphoria, and her deep love of Mariah Carey, she’s also fairly heart-on-sleeve when she’s unhappy too. Like the time she played Edinburgh’s Free Fringe again last year, and called the space ‘the shittest room on the Fringe’. Her diva huffs on stage didn’t go unnoticed and a few walk-outs from the crowd got her even more flustered. ‘You know, it’s just frustrating when something’s off with the sound or the tech side of things. I want to bring people there and help them lose their minds, let them really enjoy their night. I want my show to be an epic party with jokes in. I pour my heart and soul into these shows. Then your mic doesn’t work and no one can hear you, and the crowd loses me, and I can’t feed off their energy anymore. That kind of thing just makes me so disappointed.’ Omielan confesses that after performing WWBD?! for years, and being interviewed about it plenty over that time, she’s ready to unleash a different set. Am I Right Ladies?! – the show which Omielan performed on the Free Fringe last year – returns list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 45
FRINGE:COMEDY LUISA OMIELAN
Some folks are around for the entire back-breaking month while others just pop in and out. Catch this triple-show lot while you can DIE ROTEN PUNKTE The Germanic White Stripes (sort of) deliver a 90-minute Haus Party like you’ve never seen. Preconceptions left at the door, thanks. Assembly Checkpoint, Bristo Place, 0131 623 3030, 9, 16, 23 Aug, 10.15pm, £10–£12.
JO BRAND
‘I want it to be an epic party with jokes in’ to Edinburgh for a starry three-night run in Assembly George Square Theatre. ‘Of course, it can get annoying going over the same set but if I ever get too fed up of it, I check myself. That show has given me everything I ever wanted.’ For her brief stint at the Festival, Omielan says crowds should expect ‘the same show as last year, only bigger and better’. The punchline to one of her gags – where she strips down to Spanx and bra – may have already been ruined by various YouTube spoilers, but Omielan’s not too worried. ‘For anyone who’s seen it before, I hope it’s just a bit like hearing a line in a favourite movie. You know it’s coming, but when she says, “I carried a watermelon” for the millionth time, it’s still good to hear it.’ So, after her UK tour and Edinburgh Fringe run, what’s next for Omielan and her ongoing drive for global domination? ‘I’d like to do a world tour next, and grow my international audience,’ she says, barely pausing to inhale before rattling off the rest of the game plan. ‘A DVD too, and obviously the book. More sell-out shows. Actually, I’d quite like it if every woman had the chance to see my show. I’d like them all to come along, and all leave feeling really good about themselves.’ Of all the dates on her tour, returning to Edinburgh is something she’s especially looking forward to. ‘Edinburgh is a special place for me; I have so much love for it. I don’t want to sound cheesy, but that place is where my dreams came true. Destiny makes it sound too weird. But what I’m doing now is all I ever wanted to do.’ Luisa Omielan: Am I Right Ladies?!, Assembly George Square Theatre, George Square, 0131 623 3030, 13–15 Aug, 8.45pm, £16.50. 46 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
As part of the Gilded Balloon’s 30th Anniversary cork-popping, the loveable comic offers us three chances to hear her latest musings on modern life. Gilded Balloon, Bristo Square, 0131 622 6552, 17, 19, 21 Aug, 7.30pm, £15.
ABANDOMAN Can Rob Broderick and co create a smash-hit in just one hour? And will a disembodied P Diddy be satisfied with the hip-hop improv on show? Underbelly, George Square, 0844 545 8252, 17–19 Aug, 6.05pm, £14.50 (£13.50).
DAN CLARK The former Electric Eel guy brings us his Wow Wow Show!, a terribly cool chat affair that has been doing the business in London town. Anyone who’s probably anyone will be on stage (and in the audience). Assembly George Square Studios, George Square, 0131 623 3030, 27–29 Aug, 10.45pm, £12–£14 (£10–£12).
FREDDIE FLINTOFF Accompanied by his podcast buddy, Clyde Holcroft, Freddie (real name Andrew) reflects on a decade since England’s dramatic Ashes victory. It’s just not cricket. Except it is. Pleasance Courtyard, Pleasance, 0131 556 6550, 27–29 Aug, 4pm, £20.
TREVOR NOAH Scottish live dates hit the buffers when it was announced that this suave South African was taking over Jon Stewart’s gig on The Daily Show. Will the First Minister be asked back on? Lost in Translation might well be his stand-up hurrah on these shores. Assembly Hall, Mound Place, 0131 623 3030, 28–30 Aug, 10.30pm, £15 (£14).
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FRINGE:COMEDY FERN BRADY
PHOTO © JESSICA MCDERMOTT FROM FEMALES OF THE FRINGE
FOOL’S GOLD
Seeing a comedian simply ranting and raving inspired Fern Brady to take the mic. Set for her full Fringe debut, she tells Brian Donaldson about the meditation classes that have helped her show
C
omedians get into the standup game for many reasons. Perhaps they weren’t loved enough as a child, or they had too much love as a child or they simply get vast thrills from hearing laughter at the end of a joke they’ve told. Not many can say that their fate as a live comic was written in the stars and predicted by a palmist. Admittedly, rising Scottish comic star Fern Brady isn’t quite saying this either, but many years ago when her mother visited a fortune-teller, she was convinced that forces outwith our control had spoken. ‘They said to her, “we don’t normally mention children but your daughter is definitely going to do an unusual job for a woman”,’ recalls Brady. ‘For years I thought I was going to be a firefighter and I was really gutted about not doing that. All the way through uni I thought I was going to be a journalist, but that wasn’t really an unusual job for a woman. So, now my mum is like, “ah, all that the psychic predicted has come true”.’ Though Brady has had articles printed in The Guardian and went on Channel 4 News to discuss last year’s independence referendum (she spent most of the time trying to make Krishnan Guru-Murthy laugh), that budding journalism career was set
48 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
aside for comedy, inspired mainly by her first sight of Brendon Burns back in 2006. ‘It made me angry because he was just shouting and if it’s just all about shouting, well, I can do that. Then I kept telling people I wanted to go into comedy and they all just looked at me funny.’ The naysayers have been proved wrong, and finally earning a
‘They all just looked at me funny’ reputation on the circuit as a forthright comic with a commanding stage presence, Brady is now set for her full Fringe debut with the no-holds barred title of People Are Idiots. Then again, what’s in a name? ‘When I initially asked The Stand to do a show, I said it would be about me being a psychopath and having a personality disorder, but that’s not what it’s ended up being about. In February this year I made a sitcom pilot [Radges] with the BBC and the stress of it really got to me and I went a bit daft. After that I went to anger management
counselling and meditation classes which helped a bit but when I told my boyfriend about the positive thoughts I’d been having, he said that they were terrible and not positive at all. Some of the show is about that. My agent said I should start keeping a diary and use it, and that’s ended up working quite well.’ That BBC pilot is part of the channel’s Comedy Feeds series with Brady keeping her fingers crossed that Radges can make it to a full series. Set in a ‘pupil referral unit in Scotland’ it stars Sarah Hadland (Stevie from Miranda) as the facility’s leader. Due to be available on the iPlayer from 13 July, it should kick off a good summer for Brady, though she’s keeping her excitement about a long August in Edinburgh to a manageable level. ‘I have low expectations for the Fringe and don’t put a lot of money into it the way some other people do. I’m a bit wary of saying anything and then, come September, I’ve had the worst Fringe ever. If I can get through it without crying in a café, that would be good.’ Fern Brady: People Are Idiots, The Stand 4, York Place, 0131 558 7272, 7–30 Aug (not 17), 12.10pm, £8 (£7). Preview 6 Aug, £7 (£6).
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FRINGE:COMEDY GEIN’S FAMILY GIFTSHOP
WICKED GAME Af a darkly comic start to their After Fri Fringe career, Manchester sketch gr group Gein’s Family Giftshop tell M Marissa Burgess that the terror h only really just begun has
W
hile talking on the phone to Ed Easton of sketch group Gein’s Family Giftshop, his signal is so bad that he hotfoots it out into the garden. Is he going to be all right out there? What if it rains? ‘It’s fine, I’ve got a hoodie. Though I only had one shoe on when you rang.’ Wearing a single item of footwear at 11.30am isn’t the oddest thing about Easton. He’s also one quarter of the wickedly funny sketch show named in ‘honour’ of notorious American serial killer Ed Gein. So how did that name come about? ‘At one point it was just Gein’s Giftshop, but the rhythm of tha that name isn’t especially pleasing. Gein’s Family Giftshop is a bit more pleasing tto the ear. I loved the idea of an Ed Gein giftshop.’ For those blissfully unaware, Gein formed trophies from the body parts of those he had killed as well as others he had merely exhumed. Who knows what manner of objets d’art you’d find in his memorabilia store? Unsurprisingly, an interest in deriving humour out of darkness is something that unites the four members, performers Easton, Kath Hughes and James Meehan – who all met at Salford University – plus writer Kiri Pritchard-McLean. ‘I’m fascinated by serial killers, though not as much as Kiri,’ explains Easton, worryingly. ‘But it’s not like in an “ah cool! Maybe one day!” way but more about how someone could do that to another human being. Obviously there’s laughter in the worst things, and it’s a coping mechanism to a certain extent.’ Though they had experimented with a half-hour set at the Free Festival in 2013, their first official Edinburgh Fringe show last year at the Pleasance caught the attention of critics, audiences and judges leading to a nomination for the Best Newcomer Award. ‘I watched the League of Gentlemen religiously when I was a kid,’ confesses Easton. ‘But you’d be hard-pushed to find anyone who doesn’t like them. And Jam.’ Presumably the jet-black Chris Morris series rather than the sticky stuff in jars? ‘Yes! Though when Kiri and I write, we try to find a café with scones. So we do like both kinds.’ The group’s humour is dark, the writing is off the wall and the overall group dynamic remains very assured. So how about that tricky second show? ‘One of the things that’s written in our blurb is “more death, less jizz”. I imagine by the end of August, there’ll be too much death in it, and we might need to put some jizz back in,’ Easton laughs. As well as worrying about the potential mortality / semen imbalance within their new hour, Easton has some personal aims for the Fringe’s duration. ‘My plan is to do the show and not get as drunk. Last year, I managed to write in three pints for me to have on stage; by the end of that, you may as well go out for another one. This year, I’m going to join a gym or go for a run or something like that.’ Drastic stuff, but let’s hope the clean living doesn’t stretch to those sketches.
‘We might need to put some jizz back in’
Gein’s Family Giftshop: Volume 2, Pleasance Courtyard, Pleasance, 0131 556 6550, 8–30 Aug (not 17), 10.45pm, £8.50–£9.50 (£7.50–£8.50). Previews 5–7 Aug, £6. 50 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
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list.co.uk/festival | Edinburgh Festival Guide 2013 | THE LIST 51
FRINGE:COMEDY NISH KUMAR
THE WORD IS OUT His mum might not understand why anyone would want to see her son do stand-up, but the rave reviews tell their own story. Nish Kumar tells Brian Donaldson why he’s now dabbling in a little bit of politics
F
ronting a comedy-news programme on the radio sounds like a pretty good gig. For Nish Kumar, Newsjack’s hectic turnover of material allied to the inevitable frenzy of rewriting once stories are developing has resulted in an intriguing side effect. ‘It’s made me more relaxed about Edinburgh because I now know that, ultimately, everything gets done eventually. I’ve never especially thought of myself as being particularly ambitious or having high standards about my output, but I do just want the next show to be better than the last one. When you’re really stressing out, there comes a point where you think, “why am I expending so such mental energy on something so fundamentally useless?” Some people are stressed because they have to operate on people’s brain tumours. This is stress about an hour of comedy.’ But as we all know, comedy can be a very serious business. And it’s an avenue through which some acts aim to get points across about extremely important stuff. There will be Fringe shows concerning all manner of tough subjects from global politics and social decay to deeply personal hours about death, cancer, amputation, adoption and irritable bowel syndrome (just the two shows on that touchy topic this August). Until now, Kumar’s shows have flirted with political ideas, preferring to land more on the subject of identity (largely because of what he’s previously described as his ‘ethnically ambiguous face’). In case you’re worried that all this might sound a bit worthy, he has also performed material about his own Buffy obsession, people vomiting near trains and going to see inappropriate movies with his dad. But something has shifted in his attitudes. ‘I’ve always wanted to do more political stuff, but never quite been able to find the angle. In the last 18 months, a penny has dropped and I’m now able to bring politics into my stand-up and make it funny. And there’s a lot of material around, because this is certainly an interesting time. And by interesting, I mean potentially catastrophic.’ Kumar is wary of becoming one of those comics who indulges themselves in the self-congratulation being felt within a room full of liberals hearing liberal views being spouted by a liberal with a
52 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
Nish Kumar: Long Word . . . Long Word . . . Blah Blah Blah . . . I’m So Clever, Pleasance Courtyard, Pleasance, 0131 556 6550, 8–30 Aug, 7.15pm, £9–£12 (£8–£10.50). Previews 5–7 Aug, £6.
PHOTO © STEVE ULLATHORNE
‘Why am I stressed about something so fundamentally useless?’
microphone. ‘What are we really achieving by having our opinions simply reflected back at us?’ he asks. ‘It’s funny in and of itself to do that and then question the value of what you’ve just done. So the show is about being a left-wing comedian, what that means and whether there’s any point in it at all.’ That show is Long Word . . . Long Word . . . Blah Blah Blah . . . I’m So Clever (‘last year I had a serious title with a stupid poster, so this year we’ve inverted that’) and should he live up to his 2014 hour (Ruminations on the Nature of Subjectivity no less), another stream of wildly positive reviews will follow in its wake. And maybe then, Nish Kumar will finally believe the hype. ‘There is that moment where you think, “this is my best show; but then I could be wrong”. So when people say that this is your best show, you think, “well, good, I’m not insane”. Last year the audiences were good. My mum can’t quite comprehend who these people must be that want to see me and I can’t really either. All I know is I’m glad that they’re there. I’m not sure I would come and see me. It’s not really my sort of thing.’
“A WEE STOATER OF A FILM� The Times
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+ +++ The Edinburgh Reporter
“HILARIOUSLY GRUESOME�
“THOMPSON IS A TREAT�
The Times
ROBERT CARLYLE
++++ Indie Wire
RAY WINSTONE
EMMA THOMPSON
IN CINEMAS JULY 24 @IconFilm
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list.co.uk/festival | Edinburgh Festival Guide 2013 | THE LIST 53
FRINGE:COMEDY WOMEN AS MEN
DRAG RACING
Respectively playing a brash Aussie stand-up and US private eye, Zoe Coombs Marr and Deanna Fleysher tell Murray Robertson about their unique take on macho culture
C
ross-gender shows have a long and aand glue hair to my neck. And if she was at hhome, I would do Dave at her,’ she recalls in celebrated history at the Fringe, but hhorror. ‘I’d follow her around and go, “yeah while most of them tend to feature bbabe! Hey!” Thank god I don’t have to do men dressed as women, two international th performers are bucking the trend this year. that anymore.’ From Australia, Zoe Coombs Marr brings As director of 2013’s Fringe break-out sshow for Red Bastard, Deanna Fleysher us her monstrous creation, Dave, a terrible aalso has form with an obnoxious male comedian from Sydney. And from the p USA, we have Deanna Fleysher with Butt performer. This year she brings her own solo s Kapinski, a naff private eye putting the drag show to Edinburgh, a semi-improvised film n with a character called Butt Kapinski. into Dragnet. Both women portray men noir who are inept at their chosen professions,, Although, in reality, it’s not entirely solo. but that’s where the similarities end. ‘I started doing the character with a couple ‘Dave is my male alter-ego,’ statess of other actors,’ Fleysher explains. ‘And Coombs Marr emphatically. ‘He’s likee then at some point I realised that I was an aggressively mediocre comedian, yett much more interested in working with the loveable in a way. Dave’s a club comicc audience, so I started to ask the question from Sydney who’s trying to break into thee of how I could do that, and what holds at biz by doing a big festival show, except that performers back from really being able to nski and (right) he’s only got about seven or eight minutess engage with the audience.’ Deanna Fleysher is Butt Kapi Dave mes Zoe Coombs Marr beco of material and has to somehow fill an hour.’.’ Given that her alter-ego Butt Kapinski w Fortunately, that’s not where the show is a private eye, Fleysher figured out an meekly ends. ‘Of course, I have much more ingenious way to enable her character to material than that so I’m trying to keep the show moving and get all the walk among the audience, based on the classic film-noir image of private material into the hour slot while Dave is trying to stretch his material. eyes lurking beneath street lights. ‘I’m wearing a giant street lamp attached Essentially, everything goes wrong. He’s got the wrong audience, he’s in the to my back; and that is the only light in the show.’ wrong venue and he can’t cope with it.’ Perhaps cautious of Red Bastard’s terrifying reputation, Fleysher is keen Described as an ‘ordinary guy, deep in the hearts and minds of all to assuage any fears that her audience may harbour. ‘I think a lot of people Australians’, is Dave a universal trope or is he specific to the rather hate audience participation because performers can embarrass them and unflattering stereotype of an Aussie bloke? ‘He’s certainly Australian and can make them feel like the patsy or the idiot. In my show, people find it I think the Australian male is quite defined, as is the Australian female, pretty fun because the truth is that everyone’s really just laughing at me.’ actually. But having to be quite masculine, very blokey and trying to live Fleysher never had any doubt she wanted to portray Kapinski as a man. ‘A up to this sort of thing is also universal.’ private eye is a man, and part of the show’s idiocy is some of that gender Coombs Marr clearly has sympathy for her oafish creation. She has confusion. That also translates into what parts I give to people because I described her performance as a critique on bad stand-up, something she’s cross-gender cast the whole show.’ encountered many times on the circuit, including from herself. ‘I’ve done The procession of five-star reviews lavished on Red Bastard enticed a lot of bad stand-up,’ she admits. ‘I first started doing it when I was 15 Fleysher to dip her toes into the Fringe. ‘Part of it was the warm reception so I’ve been at it for a long time.’ Of course, not everyone is in on the which that show received and my feeling that there is interest and joke. ‘I’ve had occasions when I’ve done Dave on very big stages and the excitement in theatre that’s more experiential and about celebrating a audience will be a) very drunk and b) quite far away, and those guys will spontaneous community. I’m really interested in British audiences. Most sometimes heckle or walk out loudly, announcing, “this guy sucks”!’ of my comedic influences come from there so it’s kind of humbling and And it’s not just punters. Comedians can be oblivious to the parody, too. exciting to bring my Yankee self over and see how it goes.’ ‘On one occasion I did my act with a lot of stuff like, “hey fellas, what We’ve heard how Zoe Coombs Marr transforms into Dave, so how does about my balls?!” Another comic went on about two acts after me and Fleysher physically prepare for Butt Kapinski, elaborate street lamp aside? essentially just did my act! And he hadn’t seen it! So he came out and did ‘I slick my hair. I would say I look like a melted Peter Lorre.’ the same thing, but without the irony. And that invariably happens when I Zoe Coombs Marr: Dave, Underbelly, Cowgate, 0844 545 8252, 8–30 do Dave on stage with other guys; there will definitely be crossover jokes.’ Aug (not 18), 9.20pm, £9–£11 (£8–£10). Previews 6 & 7 Aug, £6; One benefit of portraying Dave for so long is the lack of preparation Butt Kapinski, Liquid Room Annexe, Victoria Street, 0131 225 2564, which Coombs Marr now needs to get into character. ‘I used to harass my 8–30 Aug (not 11, 18, 25), 2.10pm, free. girlfriend quite a lot. I would get dressed at home, wear a breast-binder 54 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
WOMEN AS MEN COMEDY:FRINGE
‘Another comic did my act, but without the irony’
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+++++ ‘YOU COULD SEE THIS EVERY NIGHT AND NEVER TIRE OF IT’
THE MIRROR
PAUL MERTON RICHARD VRANCH LEE SIMPSON SUKI WEBSTER AND MIKE McSHANE
PLEASANCE COURTYARD 13-22 AUG 4PM
0131 556 6550 pleasance.co.uk 0131 226 0000 edfringe.com
BY ARRANGEMENT WITH MANDY WARD ARTIST MANAGEMENT
mickperrin.com comedystoreplayers.com
Photo: Caroline Webster
ALFIE MOORE 5-31 AUG
BEARDYMAN 13-17 AUG
BRETT GOLDSTEIN 5-31 AUG
PAUL MERTON’S IMPRO CHUMS
REGINALD D HUNTER 5-30 AUG
SARAH KENDALL 5-31 AUG
Assembly George Square 5.30pm
13-22AUG Pleasance Courtyard 4pm
Pleasance Courtyard 11.15pm
Pleasance Courtyard 8pm
pleasance.co.uk
Pleasance Courtyard 9.30pm
Assembly George Square 6.45pm
CHRIS KENT 5-31 AUG
MAX and IVAN 5-30 AUG
TATS NKONZO 5-31 AUG
TOMMY TIERNAN 16-30 AUG
Assembly George Square 6.35pm
Pleasance Courtyard 9.30pm
Pleasance Dome 8.20pm
Gilded Balloon 7.30pm
gildedballoon.co.uk assemblyfestival.com
paulmerton.com
PATRICK KIELTY 24-30 AUG Assembly George Square 8pm
TREVOR NOAH 28-30 AUG Assembly Hall 10.30pm
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FRINGE:COMEDY US COMEDIANS
‘IT’S LIKE THE DAILY SHOW WITH BALLS’ From The Simpsons to Seinfeld and Bill Hicks to George Bush, American comedy has been a major part in all our cultural lives, whether we like to acknowledge it or not. With a rash of US comics invading the Fringe, we thought we’d chuck a few America-themed questions at them. And they duly fired back some answers. Here’s a sample . . .
PHOTO © STEVE ULLATHORNE
no money, no get-rich-quick scheme off it. So everyone who started after the collapse kept going because they LOVED stand-up and loving something breeds creativity. Live stand-up in the States is awesome. It’s electric, creative and comedy nerds are eager to drink it in. No money in it, though. None. That’s why I moved. I’m a sell-out. Now give me that sweet, sweet sterling.
ABIGOLIAH SCHAMAUN Would another President Clinton be good or bad for American comedy?
Abigoliah Schamaun: Post Coital Confessions, Gilded Balloon, Bristo Square, 0131 622 6552, 8–31 Aug (not 19), 5.15pm, £8.50–£10 (£7.50–£8.50). Previews 5–7 Aug, £5; Abigoliah’s GoPro Comedy Talk Show!, Free Sisters, Cowgate, 0131 622 6801, 6–30 Aug (not 19), 12.45pm, free.
If Hillary is voted into office, comics can recycle their Oval Office jokes. We’ll see a resurgence of 90s comedy right down to the loud shirts and high-waisted jeans. Voting for Clinton is bad for satire but good for the environment.
ALEX EDELMAN
What will Trevor Noah need to do to maintain The Daily Show’s success and reputation?
The Larry Sanders Show, one of my favourite sitcoms of all time, did irony incredibly well; it’s a hilarious show that had tremendous vision and pretty much every one of Rip Torn’s lines is dripping with irony.
Ah yes. All Americans remember where they were the day they heard that Trevor Noah would take over The Daily Show. And collectively you heard all of America (aside from the few that have steeped themselves in international comedy) say ‘WHO?!’ Short of just being Jon Stewart, I’m not sure what Trevor needs to do. But rest assured, world, if he doesn’t fill those enormous shoes, I’ll be waiting in the wings wearing a tailored navy suit, ready to take over. How healthy is the state of live comedy in America? What should be done to improve it?
There was the boom in the 80s, and there was lots of money to be made; then in the late 90s and early 2000s it all went kaplowee. That’s why stand-up is awesome again in the States. There’s
The British are overly keen on saying that Americans don’t do irony. Can you offer a piece of evidence that blows that theory out of the water?
Bill Hicks or Denis Leary?
Everyone you know will say Hicks. Everyone. Every single one. Honestly? As someone growing up in Boston, I’m partial to Leary. I thought he was so hilarious when I started. He never forgot his Massachusetts roots and he’s done a lot for charity in very quiet ways. His Comics Come Home gig in Boston was the first show I ever went to. So, Denis. What will Trevor Noah need to do to maintain The Daily Show’s success and reputation?
A lot, but I don’t think he’ll change at all and I think he’ll make it look effortless the way he makes stand-up look effortless. Trevor has
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mountains of talent and he’s one of the funniest people I’ve ever met. I think America is pretty lucky to get such a fresh young voice aimed in its direction. Do Americans generally welcome the likes of uppity Brits (John Oliver, Tracey Ullman and Ricky Gervais for three) coming over there and stealing all your jokes?
John Oliver is the goddamn best. But I think he is a citizen now and he says ‘we’ a lot when talking about America in his stand-up, so you guys may have lost him. And Tracey Ullman is British? Curb Your Enthusiasm or Seinfeld?
Seinfeld. It’s the alpha and the omega of the American sitcom. My favourite sitcom full stop and I think the fact that British people have failed to embrace it the same way they embraced, say, Friends, is easily the worst historical crime that the British have ever committed. Alex Edelman: Everything Handed to You, Pleasance Courtyard, Pleasance, 0131 556 6550, 8–30 Aug, 8.30pm, £9–£12. Previews 5–7 Aug, £6.
US COMEDIANS COMEDY:FRINGE
ARI SHAFFIR
JAMIE KILSTEIN
How well did satire do under Obama?
How well did satire do under Obama?
I don’t give a shit about politics. It’s all garbage run by garbage rich people to benefit other garbage rich people. I don’t vote and I don’t follow who’s trying to rule us. The revolution is coming. Until then, I’ll just watch Game of Thrones. The British are overly keen on saying that Americans don’t do irony. Can you offer a piece of evidence that blows that theory out of the water?
What are you talking about? The entire altmovement was based solely on irony. There’s nothing genuine about it. I kind of hate it for that. Any of Silverman’s stuff. Also, I don’t really know what irony is. But who gives a shit about irony. I’d rather hear what a comic actually feels and hear it in a funny way. Bill Hicks or Denis Leary?
The good news: I could still talk lk Y about the same stuff. The VERY ill bad news: Obama was still wn droning the shit out of little brown kids! YAY / SOB. The thing is no matter who the president is ter (Obama was, of course, better tty than Bush), we still have a pretty eal sexist, racist framework to deal ing with. As long as assholes are being assholes, satire should be fine. The British are overly keen on saying that Americans don’t do irony. Can you offer a piece of evidence that blows that theory out of the water?
Criticising America after electing Tony Blair and David Cameron.
Overrated or a thief? I guess Hicks even though he wasn’t funny. I’d at least rather have originality.
Bill Hicks or Denis Leary?
Are American comedians bothered about winning awards?
What will Trevor Noah need to do to maintain The Daily Show’s success and reputation?
Do we even have awards here? I got an award for Most Improved Player for volleyball in tenth grade that I cared about a lot. But the idea of giving awards for art is kind of sickening to me. I have a running daydream about winning an Oscar and giving my speech about how ridiculous it is to rank art. And then I’d call them all sycophants and leave the statue at the podium as I walked away. Do Americans generally welcome the likes of uppity Brits (John Oliver, Tracey Ullman and Ricky Gervais for three) coming over there and stealing all your jokes?
That Oliver show on HBO is amazing: did you see his Snowden interview? Wow. Also, with a growing internet, boundaries become less relevant. If I’m a college kid, I can just as easily find a comic on another coast as I can in another country. So we don’t look at those guys as Brits coming over here as much as we do just additions to the comedy landscape. Sacha Baron Cohen and Will Ferrell are just two comedy movie stars. Nobody cares too much about their accents.
I tend to side with the heroes in stories and not the thieves. So, Hicks.
Just be honest. It’s so cool not to have another white American hosting so I just want to see his perspective. How healthy is the state of live comedy in America? What should be done to improve it?
It’s rough. You have this host of ‘edgy’ comedians who take to Twitter screaming, ‘why can’t I make rape jokes without people getting mad?’ It’s as though rape jokes are their civil rights movement. Do Americans generally welcome the likes of uppity Brits (John Oliver, Tracey Ullman and Ricky Gervais for three) coming over and stealing all your jokes?
John Oliver’s show is the best on TV. It’s like The Daily Show with balls. Curb Your Enthusiasm or Seinfeld?
Curb as it’s meaner Seinfeld. Jamie Kilstein: Sober Song Rants and a Cat Story, Stand in the Square, St Andrew Square, 0131 558 7272, 18–31 Aug, 8.20pm, £12.
It’s healthy and there are definitely more comedians working in the US than there have been in past decades, but live comedy doesn’t pay like it does in the UK. I think that’s because Americans don’t appreciate live comedy the way people in the UK do. Our nation is younger and our history is less steeped in the tradition of live performance. Perhaps if we had dead bodies buried under our cities, we’d appreciate live things more. Do Americans generally welcome the likes of uppity Brits (John Oliver, Tracey Ullman and Ricky Gervais for three) coming over and stealing all your jokes?
No one is stealing my abortion jokes. Jena Friedman: American Cunt, The Stand 5, Picardy Place, 0131 558 7272, 19–30 Aug, 7.30pm, £8 (£7). Preview 18 Aug, £7 (£6).
KATIA KVINGE Would another President Clinton be good or bad for American comedy?
Another Clinton in power would be great for comedy because Kate McKinnon does a spoton Hillary impression. I would love to see Kate McKinnon and Amy Poehler have a double Clinton sketch on Saturday Night Live! The British are overly keen on saying that Americans don’t do irony. Can you offer a piece of evidence that blows that theory out of the water?
Theories can come from water?!
JENA FRIEDMAN
Ari Shaffir: This is Not Happening, Pleasance Dome, Bristo Square, 0131 556 6550, 8–30 Aug (not 10–12, 17–19, 24–26), 11pm, £10–£12. Previews 6 & 7 Aug, £6.
How healthy is the state of live American comedy?
Bill Hicks or Denis Leary?
How well did satire do under Obama? And would another President Clinton be good or bad for American comedy?
I think satire ddid well under Obama and will do just as w well under Hillary. B But regardless of w who is president, oour political system iis ripe for comedy bbecause our political ssystem is y broken.
I once saw Denis Leary at a beach on Nantucket and he got weirded out cause I kept swimming closer to see if it was him. So, I guess, Bill Hicks. Are American comedians bothered about winning awards?
I can’t speak for them all but from what I’ve experienced, it seems more like the UK focuses on what reviewers are saying and what awards people have won. In the US, it seems more about what shows you’ve written for or been on. What will Trevor Noah need to do to maintain The Daily Show’s success and reputation?
Leak a sex tape. How healthy is the state of live comedy in America? What should be done to improve it?
PHOTO © SETH OLEN
Aside from there being very few live shows that actually pay the performers, the comedy scene would be healthier with laughter yoga, kale smoothies served in the clubs and dogfriendly venues (Punchlines & Pooches). ICK
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FRINGE:COMEDY US COMEDIANS
Do Americans generally welcome the likes of uppity Brits (John Oliver, Tracey Ullman and Ricky Gervais for three) coming over and stealing all your jokes?
Generally speaking, Americans do seem to love the British accent, although now you mention it, James Corden does look a lot like a young Chris Farley…
PHOTO © PACO OJEDA
Curb Your Enthusiasm or Seinfeld?
Girls, Broad City and Inside Amy Schumer all day, every day! Who is Seinfeld? Katia Kvinge: 140 Karakters, The Caves, Niddry Street, 0131 226 0000, 6–29 Aug (not 12, 18), 7.45pm, free.
KINSEY SICKS How well did satire do under Obama? And would another President Clinton be good or bad for American comedy?
Over the last few years we’ve learned that Obama is a pot-smoking, Muslim socialist born in Kenya. How can satire not be alive and well in Washington? We can’t wait to hear what we learn about Hillary. The British are overly keen on saying that Americans don’t do irony. Can you offer a piece of evidence that blows that theory out of the water?
Ironically, no. Bill Hicks or Denis Leary?
Without doubt, Susan Boyle. Are American comedians bothered about winning awards?
We’re pleased to say that the Kinsey Sicks remain unburdened by this problem. How healthy is the state of live comedy in America? What should be done to improve it?
The state of live comedy is unhealthy and that’s why the Kinsey Sicks wear condoms every time we perform. Do Americans generally welcome the likes of uppity Brits (John Oliver, Tracey Ullman and Ricky Gervais for three) coming over and stealing all your jokes?
It’s the good people of Scotland who have cause for complaint. You send America smart, thought-provoking comics like Craig Ferguson and Billy Connolly, and the USA sends you the likes of the Kinsey Sicks in return? This inequity of the comedic exchange rate should be the cause of a major diplomatic row. And street protests. Definitely street protests. In fact, we encourage people to protest in front of the Gilded Balloon nightly by handing out Kinsey Sicks flyers and vociferously urging people not to come to our show (please note: our show starts nightly at 11, so your protest will be more effective if you protest from, say, 9 or 10 until 11. And also if you bring a TV crew). Curb Your Enthusiasm or Seinfeld?
Once again, I think I have to go with Susan Boyle. Kinsey Sicks: America’s Next Top Bachelor Housewife Celebrity Hoarder Makeover Star Gone Wild, Gilded Balloon, Bristo Square, 0131 622 6552, 8–31 Aug (not 12, 19, 26), 11pm, £10–£12 (£9–£11). Previews 5–7 Aug, £6.
KYLE KINANE The British are overly keen on saying that Americans don’t do irony. Can you offer a piece of evidence that blows that theory out of the water?
Which Americans? The ones that booted Native Americans out of their homeland in search of freedom? The ones who enslaved black people in their quest for a better life? See how far the ‘give me your tired, your poor, your huddled masses yearning to breathe free’ gets you with the armed patriot militias patrolling the Mexican-American border. We have a state called New Mexico that Mexicans can’t get into. Americans are great at irony! And they don’t even realize it. Which makes it double ironic! We’re twice as good at irony as everyone else. USA! USA! Tina Fey or Sarah Silverman?
So difficult to choose between the only two women performing comedy. Ever since Carol Burnett died, we’ve been left with so few choices. What’s that? She’s not dead? Oh thank god. Carol Burnett. I choose Carol Burnett. How healthy is the state of live comedy in America? What should be done to improve it?
It’s huge. It’s swollen with tourists right now though, because stand-up is cool and it’s easier to approach than learning an instrument and putting a band together. Do Americans generally welcome the likes of uppity Brits (John Oliver, Tracey Ullman and Ricky Gervais for three) coming over and stealing all your jokes?
We like it more when the Australians do it. Curb Your Enthusiasm or Seinfeld?
What will Trevor Noah need to do to maintain The Daily Show’s success and reputation?
He’s in the David Moyes slot following Alex Ferguson. The guy after him will have a better shot. Plus, he’s an immigrant and not an African-American. Black Americans have a very tricky relationship with the country and white Americans are used to that. White Americans want to see an immigrant love America and would want to hear Trevor telling Americans how great the country is, how it is a land of opportunity and freedom and all that shit, yet the powers that be are messing it up. Not sure if black Americans would want to hear some African guy talking like that. Tina Fey or Sarah Silverman?
Sarah Silverman. I worked with her in New York and she is so funny and quirky and beautiful and hope to marry her some day or at least have her as a friend. I have never really seen Tina Fey except her Sarah Palin thing which was a bit of comic acting and not stand-up. Do Americans generally welcome the likes of uppity Brits (John Oliver, Tracey Ullman and Ricky Gervais for three) coming over and stealing all your jokes?
John Oliver isn’t uppity. He is very down to earth and humble and acts like he loves America, which I think he does and is really important to Americans. And he continued to be nice to me after he became famous so I love him. As for Ricky Gervais, my guess is that he is far too complicated a person for Americans to really love and will not get much bigger than he already is, which seems to be very.
Dennis Silverman. Kyle Kinane: Ghost Pizza Party, Underbelly, Cowgate, 08445 458252, 8–30 Aug (not 18), 10.10pm, £10–£12 (£9–£11). Previews 6 & 7 Aug, £6.
Lewis Schaffer Is Free Until Famous, £5, Community Project, Candlemaker Row, 0330 220 1212, 6–30 Aug (not 18), 5.35pm, £5 (£3). PHOTO © RAY MALCOLM
LEWIS SCHAFFER The British are overly keen on saying that Americans don’t do irony. Can you offer a piece of evidence that blows that theory out of the water?
Was it Reg Hunter who said irony is a joke you tell one friend at the expense of another friend who doesn’t get that he’s the brunt of the joke? My take is that Americans don’t do irony as we tend to be direct. If the other person gets the joke it isn’t irony. I hate the excessive use of irony. Just say what’s on your mind. Bill Hicks or Denis Leary?
Neither. I know the dude is dead but I didn’t like Bill Hicks. He ran down the USA in the UK and that’ll get you laughs here but it’s cheating. Leary? He was like Hicks: a lot of attitude. I hate attitude because it’s fake.
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US COMEDIANS COMEDY:FRINGE
but not because of him. People are more sensitive now and strong satirical voices are stifled because of that. I don’t think a Clinton presidency would change that. Bill Hicks or Denis Leary?
I didn’t know who Hicks was until recently. But I liked Leary a lot as a kid. Are American comedians bothered about winning awards?
PHOTO © CHRISTA HOLKA
MEGAN FORD Would another President Clinton be good or bad for American comedy?
The second that Hillary Clinton is inaugurated the patriarchy will fall and there will be no more need for satire. Just like having a black president fixed racism and we haven’t needed satire for the last seven years either. The British are overly keen on saying that Americans don’t do irony. Can you offer a piece of evidence that blows that theory out of the water?
night. There is a lot of crap, but the democracy of comedy casts a wide net. Do Americans generally welcome the likes of uppity Brits (John Oliver, Tracey Ullman and Ricky Gervais for three) coming over and stealing all your jokes?
You got it backwards. We stole them for our ratings!
I can’t speak for every American comic, but for me a great show is its own reward. Comedy is too subjective for awards. Maybe I’d change my mind if I actually won one, though.
Stephen Tobolowsky: The Tobolowsky Files, Pleasance Courtyard, Pleasance, 0131 556 6550, 18–31 Aug, 5.20pm, £12–£14 (£11–£13).
What will Trevor Noah need to do to maintain The Daily Show’s success and reputation?
WILL DURST
He’ll need to make it his. He needs to make people hear news stories and think, ‘I can’t wait to hear what Trevor says about this’. How healthy is the state of live comedy in America? What should be done to improve it?
Live comedy is fantastic. It’s when live comedy is transcribed and reported and critiqued outside of the venue without context that things become complicated.
How well did satire do under Obama? And would another President Clinton be good or bad for American comedy?
Satire was perhaps a bit muted under Obama, but there were many reasons. For one thing, it’s hard to mock hope. And he’s a smart guy. Didn’t make many stupid moves or statements. But Hillary. Aaaah. That would be brilliant. Because comedy is based on shared references. And we know her. Smart. Capable. But not what you call loveable. Less cuddly than a stainless steel teddy bear filled with angry wasps.
Michael Che: Six Stars, The Stand 3, York Place, 0131 558 7272, 7–20 Aug, 7.40pm, £12. Preview 6 Aug, £10.
The British are overly keen on saying that Americans don’t do irony. Can you offer a piece of evidence that blows that theory out of the water?
Bill Hicks or Denis Leary?
STEPHEN TOBOLOWSKY
George W Bush has a think tank.
Typical media. Always pitting straight white men against each other.
Bill Hicks or Denis Leary?
Are American comedians bothered about winning awards?
The British are overly keen on saying that Americans don’t do irony. Can you offer a piece of evidence that blows that theory out of the water?
Nope. Our egos have evolved beyond that sort of vanity. That’s why we’re better than everyone else and America is #1. USA! USA! USA!
The slam-dunk is Being There. Of course we had to borrow Peter Sellers to do it. But how about Spinal Tap? A Mighty Wind? Any Chris Guest movie.
Tina Fey or Sarah Silverman?
Are American comedians bothered about winning awards?
Benny Hill.
I don’t know. I can’t tell the girl ones apart. Do Americans generally welcome the likes of uppity Brits (John Oliver, Tracey Ullman and Ricky Gervais for three) coming over and stealing all your jokes?
‘Are you white? Do you speak English? OMG you’re so adorable and quaint! Come on in!’ Curb Your Enthusiasm or Seinfeld?
The one with the Jew. Megan Ford: Feminasty, Underbelly, George Square, 08445 458252, 8–31 Aug (not 12, 19), 2.50pm, £8–£9 (£7–£8). Previews 5–7 Aug, £6.
MICHAEL CHE How well did satire do under Obama? And would another President Clinton be good or bad for American comedy? y?
I think satire suffered under Obama,
Comedians love awards. More shows they get to host! What will Trevor Noah need to do to maintain The Daily Show’s success and reputation?
Jon Stewart didn’t catch on at first. He became a sensation by being a great interviewer. He was truthful. He listened. And we laughed. How healthy is the state of live comedy in America? What should be done to improve it?
Live comedy from the Groundlings ngs and UCB are still thriving. We are he in the middle of a revolution as the ift internet has created a paradigm shift ve in American comedy. Unknowns have g than an open-mic p ic a pplatform larger
Have to go with Bill Hicks mostly because he’s dead. Besides, you always go for the original before embracing the bad Xerox without any toner. What will Trevor Noah need to do to maintain The Daily Show’s success and reputation?
Give the guy some time. The show will properly morph, and needs to do so. Hopefully he’ll introduce more segments with puppets. Tina Fey or Sarah Silverman?
Yes. Any time. Every time. All the time. Curb Your Enthusiasm or Seinfeld?
Game of Thrones. Will Durst: BoomeRaging from LSD to OMG, Gilded Balloon, Bristo Square, 0131 622 6552, 8–31 Aug (not 18), 5.30pm, £10.50–£12.50 (£9.50–£11.50). g £5. Previews 5–7 Aug,
F MUCH,OR MORE O MUCH Q&AS, F THESE LIST.C VISIT .UK FESTIO VAL /
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62 THE LIST | Edinburgh Festival Guide 2013 | list.co.uk/festival
TU
G N I N
GANDINI JUGGLING DANCE:FRINGE
ES
R HE TAB T L
FRINGE : DANCE A quick check of their very busy international diary shows that Gandini Juggling are very much in demand. Their leader tells Donald Hutera that a simple lapse of concentration can cause chaos
S
ean Gandini thinks so far outside the standard circus box that he and his Gandini Juggling partner Kati Ylä-Hokkala practically reinvent the art form with each new show. Their previous production Smashed – an attempt to fuse juggling with the work of iconic dance-theatre guru Pina Bausch – was (pun intended) a smash hit both in Edinburgh and abroad. Now this British-based company is back on the Fringe with 4x4 Ephemeral Architectures, and it’s a thing of quirky beauty and great wit. To call this fizzy collaboration between two master jugglers and the ex-Royal Ballet dancer turned choreographer Ludovic Ondiviela a mash-up doesn’t seem quite right. The 65-minute performance is both a highly refined experiment and a great deal of fun. Among its many pleasures is not just the ingenious way in which the skills of four ballet dancers and as many jugglers (two of each sex from each discipline) are juxtaposed and merged. During the last week of its Edinburgh run, 4x4 is also a live concert, with the game cast’s plethora of mathematically precise patterns being accompanied by a suite of Nimrod Borenstein’s literally plucky, piercing or lyrical
musical compositions played by the five-piece chamber ensemble Camerata Alma Viva. The sum of these many parts is a splendid blend of talents imbued with both elegance and humour. But isn’t this mingling of highly-trained bodies in motion and a battery of flying objects (including coloured balls, pins and rings) more than a mite odd? Gandini doesn’t think so. ‘The main and obvious similarity between juggling and ballet is that both disciplines work in time and space, and are choreographic in nature,’ he says. ‘When done well both are rigorous and exact. The differences are that juggling is more enslaved to gravity, because you can’t change the velocity of falling objects. The other difference – which I find fascinating, and tried to address in the piece itself – is ballet’s sense of beauty in its own classicism and rules. Juggling doesn’t have the same sense of historical classicism. Or, if it does, it wouldn’t work well in conjunction with ballet. So we had to invent a juggling classicism.’ The dancers’ bodies are the main vehicle of expression in 4x4. The show’s kick is how bodies and juggled objects, however fleetingly, interact. An ongoing and ever-changing stream of encounters is sometimes supplemented by spoken text (from manifesto-like statements
to pop slang) and other, self-generated sound (especially of an animal nature). ‘It’s rather difficult to perform because it involves a lot of complex counting whilst dancing or juggling, and small mistakes can be quite disastrous,’ continues Gandini. ‘For the dancers, the challenge is not to get hit; and also some of them weren’t used to speaking on stage. For the jugglers, some of Ludo’s movement is a new vocabulary for them and therefore quite challenging.’ Ultimately, there’s so much to observe, hear and absorb that 4x4 easily merits more than a single viewing. Luckily, most Gandini Juggling productions enjoy a long and international shelf life. ‘The piece is just beginning its global journey, but already we have about 100 dates booked for the next two years,’ states Gandini. ‘To us, the show feels like a Michelinstarred restaurant: it might sometimes lose money, but hopefully in the long run it will repay itself.’ 4x4 Ephemeral Architectures, Assembly George Square Theatre, George Square, 0131 623 3030, 8–30 Aug (not 12, 18, 25), 5.30pm, £14–£16 (£12–£14). Previews 5–7 Aug, £10.
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FRINGE:DANCE COMPANY CHORDELIA
TOP 5 DANCE
Utilising everything from ice skates to big boots, these five shows platform the best of contemporary movement
VERTICAL INFLUENCES Making its Fringe debut last year, Canadian contemporary dance skating company Le Patin Libre introduced us to a whole new way of dancing on ice. Now they’re back, this time with a full-length show, and we can hardly wait. Murrayfield Ice Rink, Riversdale Crescent, 0131 623 3030, 8 & 9, 15 & 16, 23, 28 Aug, 6.30pm, 8.30pm; 29 Aug, 7pm, 9pm, £15 (£12, family ticket £42).
HOMME / ANIMAL
LEAP YEARS In Nijinsky’s Last Jump, the iconic dancer is shown as an obsessive risk-taker. Kelly Apter talks to choreographer Kally Lloyd-Jones about putting his different lives on stage
Y
ou don’t become the greatest male dancer of the 20th century without taking a few risks. And when it came to pushing boundaries in the early 1900s, Vaslav Nijinsky was at the front of the queue. But at what cost? That’s the question choreographer Kally Lloyd-Jones will be asking in Nijinsky’s Last Jump, her new show for Company Chordelia. ‘I’m interested in the idea of obsession and perfectionism and what it was like to be part of such an exciting time in the history of the arts, with all those incredible composers and designers and this sudden rush for change. But I’m more interested in Nijinsky’s inner life: his mental state and the relationship between that and his creativity. The way in which people submerged themselves in what they were doing often meant they couldn’t find their way back out.’ Best known for his ground-breaking works with the famous Ballets Russes (including L’après-midi d’un faune and The Rite of Spring), 64 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
Nijinsky was in and out of psychiatric hospitals for much of his life. Using two performers to depict his adult and younger self, Lloyd-Jones will fuse text and choreography to explore his life; not chronologically or biographically, but emotionally. Working with writer Michael Daviot, she has been inspired by Nijinsky’s own diaries, plus the many photographic and painted images created of him during his time on stage. ‘In a time when the notion of celebrity was quite new, and the way information was disseminated was very different from now, what we have left is very little in the way of film,’ she says. ‘But what we do have are iconic images, and through those he has become an icon for change and for taking risks.’ Nijinsky’s Last Jump, Dance Base, Grassmarket, 0131 225 5525, 11–23 Aug (not 17), 2pm, £10 (£8). Previews 7–9 Aug, £8 (£6).
Mixing dark, hypnotic contemporary dance, with energetic hip-hop moves, this deeply penetrating work from Vendetta Mathea & Co was a deserved hit at the 2014 Fringe. Greenside, Nicolson Square, 0131 618 6967, 7–29 Aug (not 16, 23), 7.35pm, £12 (£8–£10, family ticket £32).
CORRECTION Czech company VerTeDance presents this engaging show that proves dance doesn’t have to take place in a large space. Seven performers, stuck to the ground by their big boots, create fascinating movement despite their physical confinement. ZOO Southside, Nicolson Street, 0131 662 6892, 11–19 Aug, 8.15pm, £10 (£8).
PLAN B FOR UTOPIA Former Scottish Dance Theatre performers, Joan Clevillé and Solène Weinachter – both known for their ability to raise a laugh – help launch Clevillé’s brand new dance company with this playful look at changing the world. Dance Base, Grassmarket, 0131 225 5525, 22–30 Aug (not 24), noon, £10 (£8). Preview 21 Aug, £8 (£6).
LAST MAN STANDING Atmospheric and intense contemporary dance from the increasingly popular, multi-award winning James Wilton Dance. Last seen in Scotland with his work ‘Drift’ for Scottish Dance Theatre, Wilton returns with this exploration of human fragility and our will to survive. ZOO Southside, Nicolson Street, 0131 662 6892, 23–31 Aug, 12.30pm, £12 (£10).
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FRINGE : KIDS
THE FAMILY WAY Julia and Malcolm Donaldson are back at the Fringe but with a whole new approach to entertaining children. Kelly Apter hears how they whittled down their extensive back catalogue for this year’s show
F
or some people it’s a springboard to greater things, but by the time Julia Donaldson made her Fringe debut in 2006, she was already a household name. That is if your household includes young children intimately acquainted with Donaldson’s oeuvre, in particular a certain wart-nosed beast known as the Gruffalo. At that time, Julia and husband Malcolm had a rather relaxed approach to bringing her extensive bibliography and songbook to life. ‘Looking back now, what we were doing feels quite amateurish,’ says Julia. ‘Since then, we’ve done so many shows in so many theatres and have become a lot more professional. But it was lovely to have that freedom; we would change the show from one thing to another if we got fed up with it, and we really enjoyed it.’ Enjoyable though it was, the couple started to hanker after something more structured and, crucially, an outside eye to visualise a new way of transferring her literary creations from page to stage. Now they’re back at the Fringe, that’s exactly what they’ve done. ‘For a long time, we’ve been thinking it would be lovely to have some direction,’ says Julia. ‘There’s something very enjoyable about being stretched and re-thinking how you do things. Director Peta Maurice came to see us, and said that while it’s clearly an author-led show – and she wanted to keep it that way – she had lots of things in mind.’ Maurice’s plans for the Donaldsons’ Underbelly show include a library set where book troughs turn into boats, shelves swivel round to reveal new locations, and puppets play the ever-increasing animals in her popular A Squash and a Squeeze. Aimed at children aged 4-10, the show will feature
picture book favourites such as Jack and the Flumflum Tree, What the Ladybird Heard, The Gruffalo and Zog. Whittling the titles down from an original shortlist of 30 wasn’t easy, but Malcolm was on-hand during the decision-making process. ‘Julia always has the final say, as is only right because she wrote the books,’ he says. ‘But I do chip in and we have long arguments about it; they’re never acrimonious, just quite extended. And I’m very pleased with what we’ve chosen.’ A paediatrician by trade, Malcolm has been joining Julia on stage ever since The Gruffalo was first published in 1999. For him, it’s a chance to unleash a different side to his personality. ‘I’ve got one career as a doctor and another as Julia’s sidekick, and they’re wonderfully complementary because I’ve always been a bit of a clown; but you can’t be a clown if you’re a doctor. So being able to act, sing and play my guitar is a wonderful antidote to medicine. But then I also love having my own area of interest, and not just being Julia Donaldson’s husband.’ Keeping it in the family, Julia’s sister Mary will also appear in the show, along with two young actors, one of whom is the daughter of an old university pal. A bigger cast, bigger set and, it would seem, bigger laughs. ‘Working with Peta has taken us to a completely new level,’ says Malcolm. ‘I’m absolutely blown away by it. We did a run-through recently and our designer and puppeteer were roaring with laughter; so we’ve got to be doing something right.’ Gruffalos, Ladybirds and Other Beasts: With Julia Donaldson, Underbelly, George Square, 0844 545 8252, 8–31 Aug (not 19), 11.30am, £10–£11 (£9–£10). Previews 6 & 7 Aug, £6.
a e b t ’ n a c u ‘Yo e r ’ u o y f i n clow a doctor’
PHOTO © STEVE ULLATHORNE
66 THE LIST | Edinburgh Festival Guide 2015 | list list.co.uk/festival co uk/festival
‘EFFORTLESSLY PROFESSIONAL’
list.co.uk/festival | Edinburgh Festival Guide 2013 | THE LIST 67
FRINGE:KIDS GROSSED OUT GAME SHOW
TOP 5 KIDS
PHOTO © MATTY GREY
Who says Shakespeare is too tough for young minds? Here are five shows which prove that where there’s a Will, there’s definitely a way
SHAKESPEARE UNTOLD: DOUBLE BILL The world-famous Globe pops up to Edinburgh with a pair of shows, Romeo and Juliet (The Party Planner’s Tale) and Titus Andronicus (The Piemaker’s Tale). Pleasance Courtyard, Pleasance, 0131 556 6550, 8–31 Aug (not 12, 19, 26), 12.30pm, £15 (£13). Previews 5–7 Aug, £10.
SHAKESPEARE IN THE GARDEN: BRAVE MACBETH Singing witches, crown-swapping mayhem and a bunch of kilts: it can only be Brave Macbeth, back for another stab at success. Famous Spiegeltent, St Andrew Square, 0844 693 3008, 7, 9, 12, 15, 19, 22, 26, 29, 31 Aug, 10.30am; 11, 14, 18, 21, 25 Aug, 11.45am, £10 (family ticket £34).
Matty Grey has hit pay dirt with the biggest gungefest in children’s entertainment. David Pollock dons a hard hat while the Australian pores over the mechanics of his new show
D
espite the success enjoyed by all seven shows he’s created in the last four years, Melbourne’s Matty Grey got into children’s entertainment by accident. Having relocated to Sydney and saving for a wedding with his partner Kat (she plays Professor Kit-E-Kat), he took a mobile DJ job. Finding himself booked to play a child’s party, ‘it turned out I was a hit with the kids, largely because I’m just a big kid myself’. Fast-forward a few years and Grey has his biggest hit to date, the Grossed Out Game Show. It features kids being split into two warring teams, each led by a guest performer through a series of silly, highenergy tasks. Members of comedy troupes Umbilical Brothers and Axis of Awesome have taken part, as has Gary Eck, a writer on Happy Feet Two. Grey’s favourite game is ‘Mars Attacks’, where a brave parent is bombarded with paper plates thrown by the audience and has to catch them with kitchen tongs. Kat prefers ‘Mummy Bird’, where volunteers have to feed ‘lolly worms’ to the open-mouthed audience. The winning celebrity’s prize is to have less slime poured on them than their opponent. ‘You don’t need to be a particularly good sport as trash talk and creative cheating are a big part of it,’ says Grey. ‘But you do need to be able to let yourself go and be a big kid for an hour without worrying if you look silly. Kids are often underestimated by adults and the media, and coddled as if they’re delicate, fragile beings that may disintegrate if you explain a difficult concept to them. I shout at them, tell them they’re smelly and ugly, and they love it. Kids are pretty perceptive and understand more of the world around us than we give them credit for.’ Grossed Out Game Show, Assembly George Square Gardens, George Square, 0131 623 3030, 7–9, 14–16, 21–23, 28–30 Aug, 11.15am, £10 (£9; family ticket £34). 68 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
SHAKESPEARE SHORTS: COMEDY OF ERRORS The Traquair folks bring us a version of the classic tale of mistaken identity and twins (easily done, you’d imagine) in a story dubbed ‘Carry On Chaos meets Laurel & Hardy’. TheSpace, Niddry Street, 0131 510 2383, 7, 10, 12, 14 Aug, 11.30am, £8 (£5; family ticket £20).
JULIUS CAESAR This incisive play about the machinations of Roman history is stripped right back by Bristol Old Vic Theatre School and plugged into the modern world of digital overload and rolling news. Assembly George Square Studios, George Square, 0131 623 3030, 8–21 Aug, 11.15am, £8. Previews 6 & 7 Aug, £6.
THE PLAY’S THE THING: SHAKESPEARE FOR KIDS A rollicking adventure as we meet the Stratford playwright and iconic characters such as Bottom, Hamlet and Juliet. C south, Lutton Place, 0845 260 1234, 6–31 Aug (not 18), 12.15pm, £7.50–£9.50 (£3.50–£7.50).
Festival 2015
5 Aug – 30 Aug ‘You could spend the entire three weeks at Summerhall and never be bored for a second’ LYN GARDNER, THE GUARDIAN 2015
0131 560 1580
info@summerhall.co.uk
www.summerhall.co.uk list.co.uk/festival | Edinburgh Festival Guide 2013 | THE LIST 69
70 THE LIST | Edinburgh Festival Guide 2013 | list.co.uk/festival
FRINGE : MUS IC
FOUL PLAY
Their touring schedule may be calmer affairs now, but Bill Wells and Aidan Moffat are still producing music which can veer towards the seamier side of sex, love and death. In conversation with the pair, Claire Sawers tries her best to keep it clean
B
efore he started writing the lyrics for album number two with Bill Wells, Aidan Moffat got stuck into some academic research. The troubadour tracked down copies of What Do Women Want, The Erotic Mind and Men Loving Themselves, a series of texts on sexuality, desire and psychosexual therapy. The last, by pioneering San Franciscan sex therapist Jack Morin, is a black and white photographic study from the 1970s of, well, the clue is pretty much there in the title. ‘It was homework!’ blurts out Moffat in faux-protest, laughing hard before there’s a chance for any gags from anyone. ‘I decided this time I’d actually do some research.’ Moffat, a professional over-sharer, dour sentimentalist and muckymaudlin poet with a devoted fanbase who would never want him any other way, has written for 20 years on what he rather neatly nutshells as ‘the things people don’t really talk about’. Eternally fascinated by the stuff which makes the world go round, sex and love still feature heavily in his songwriting, as does being a failure, a fake and, more recently, a father. ‘I suppose that’s what got me started in the first place,’ he muses, casting his mind back two decades when he began making demo tapes with Malcolm Middleton as the duo, Arab Strap. ‘I was trying to find a more honest approach to the love song and a more Scottish one. Using language that people really use. My feelings behind the words are still the same; I don’t want to poeticise things too much.’ Music partner Bill Wells, who is responsible for the meandering, skronky, soporific jazz / orchestral pop arrangements on their recent album, The Most Important Place in the World, actually had to remind Moffat not to poeticise things too much at one point. ‘He was trying to cut out some of the swear words, and I told him we should really be keeping them: it was starting to lose its effect!’ Wells chimes in. ‘I’ve had to encourage him a few times to keep the language fairly foul. That’s something Aidan does which is very unique; where others waffle, he confronts something directly.’ The Most Important Place in the World is named after an IKEA ad campaign, and comes with album artwork drawn by Moffat’s six-yearold son. It’s the follow-up to 2011’s Everything’s Getting Older, Wells and Moffat’s first album together, which won them the inaugural Scottish list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 71
FRINGE:MUSIC WELLS & MOFFAT
Album of the Year award for its dark, loungy, often achingly beautiful take on the encroachment of age. ‘Getting that award 15 or so years into my music career: aye, it was a surprise,’ says Moffat. ‘I’m glad it came when it did though; if it had happened after my second album I’d have turned into a right prick. You see it happen to young artists all the time: they get attention, they start listening to their own press, they produce less, and it can end up rubbing all the edges off their music.’ Both Moffat and Wells have what seems to be an unfillable hunger, and devoutly catholic taste when it comes to discovering music. Chatting with them, they mention Kendrick Lamar (Moffat offers him as a good example of avant-garde, exciting music that’s also popular), Taylor Swift (‘I like her, but maybe not for the same reasons as Aidan,’ jokes Wells), bad jazz (‘it’s so easy for a bad collaboration to turn corny and cliched’) and writing music for unborn babies and expectant mothers (that’s one of Wells’ many current side-projects, with members of the revolving line-up from his ironically named National Jazz Trio of Scotland). In The Most Important Place in the World, mortality is still very much on their minds, but this time the lyrics bring in tawdry taxi rides home, filthy high chairs, vanilla sex, cautious longings and fatherly pining. Bombs are casually dropped in inimitable style: with ‘VHS-C’, the discovery of a forgotten home sex-tape leads to a dilemma on whether to watch it or not; in ‘Far from You’ (a song written while getting drunk on his 40th birthday in Tokyo with his brother), Moffat drops his guard for a tender confessional lullaby to his children, written off by many, he points out, as a sappy love song to a woman. Translating the songs effectively for a live audience is important to both musicians. ‘For listeners, the live thing has way more value than the recorded version,’ reckons Moffat. ‘You’re getting something unique on the night, and for the musicians, it’s just much more fun.’ He admits to finding it ‘harder and harder’ to remember songs, so always takes the lyrics onstage with him. ‘I figure I’d rather watch someone up there with a bit of paper in front of them than watch them fuck it up. Curiously though, I still remember every Arab Strap lyric somehow.’ Wells and Moffat have honed the live show into a small-scale affair, something they both enjoy more and more. ‘I’m not as hung-up these days as I once was on the big production,’ says Moffat. ‘It’s really just about the folk up on the stage. Our favourite tours recently have had some of the simplest set-ups.’ 72 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
‘The tours are pretty calm affairs these days,’ says Wells. ‘No real mental stuff backstage or anything. After a show I’ll probably go to bed as quickly as I can!’ If it sounds like they’re getting older, they are. But there’s still a fire in their paunches to make music that’s exceptional. ‘We both share this thirst for contemporary music,’ says Wells. ‘Sometimes even the really awful stuff! We can still find interesting sides to it or we want to subvert it.’ To that end, the pair have made numerous pastiches and mutated versions of jazz standards and pop covers including Stooshe’s ‘Black Heart’, Bananarama’s ‘Cruel Summer’ and the Twilight Sad’s ‘Alphabet’. ‘The most surprising thing is that I can give Aidan a huge range of things to play around with – some doo wop stuff, a piano ditty, a viola solo, a wee loop that I like, maybe – and it will then just grow into something,’ says Wells. ‘Aidan’s writing has definitely changed over the years. I’m pleased I can still hear some of the old Arab Strap stuff in there too, though.’ Aidan Moffat’s son was hoping to take the new album into school to show off his handiwork on the front cover to his classmates, but Moffat Snr didn’t think it was such a good idea (even if he is officially now a children’s writer having penned The Lavender Blue Dress). ‘Aye, maybe The Most Important Place in the World deals with parenthood and domestic life but, fuck’s sake, I’d still not really want wee kids to be hearing it.’
‘Where others waffle, he confronts something directly’
Bill Wells and Aidan Moffat, Summerhall, 0131 560 1581, 12 Aug, 8pm, £16 (£14).
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FRINGE:MUSIC SARAH JANE MORRIS
TOP 5 MUSIC
Five shows on the theatrical side of life which never forget that your ears sometimes just want to hear a good old tune
PHOTO © JOHNNY BOYLAN
DILLIE KEANE The Fascinating Aïda member strikes out on her own this year with a show featuring ‘gorgeous songs of love and hilarious songs of disgraceful filth’. A recipe for chutney might be handed out at the end. Underbelly, George Square, 0844 545 8252, 8–31 Aug (not 17–19), 6.05pm, £13.50–£14.50 (£12.50–£13.50). Previews 6 & 7 Aug, £9.
URINETOWN
WET WET WET A restless childhood has kept Sarah Jane Morris on her musical toes. She tells Fiona Shepherd that retiring is not really an option
S
arah Jane Morris is still best-known as Jimmy Somerville’s co-vocalist on the Communards’ 1986 smash hit, ‘Don’t Leave Me This Way’. But her long, vibrant and varied career also includes fronting numerous bands playing blues, Latin, folk and jazz, roles in musicals and other stage work, modelling, voiceovers, activism and several trips to the Fringe. Morris is so enamoured with Edinburgh that she’s already eyeing it up as a retirement destination. This from a woman who has lived in 36 houses in her lifetime and admits that, ‘as a musician, you don’t really get to retire, you just carry on until you drop’. She puts her restless questing down to an itinerant upbringing. ‘My dad was one of those people who always pushed his luck and we’d often move in the middle of the night because the receivers would be coming to take all our furniture. It was a precarious childhood but it prepared me for life as a musician 74 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
where you don’t know where you’re going to end up. And it’s a hell of a lot to be able to call on as a songwriter.’ Morris came relatively late to songwriting but she’s justifiably proud of her latest album which will form the backbone of her Fringe gigs. Bloody Rain is a suite of originals and covers inspired by the sounds and social issues of Africa, from state-sanctioned homophobia to forced marriage. Crowdfunding allowed her to pay for an impressive musical guest-list including the Soweto Gospel Choir, Senegal’s Seckou Keita and Zimbabwean singer Eska. ‘I’ve found that the best way to get anything across is to seduce with the music,’ she says. ‘When you hit people across the head with politics it doesn’t do any good.’ Sarah Jane Morris: Bloody Rain, Assembly Rooms, George Street, 0844 693 3008, 13–15 Aug, 1.45pm, £12.
The Royal Conservatoire of Scotland delivers a story of greed and corruption set within a fictional future in which a town’s water supply is being held for ransom amidst a drought. Lively musical theatre satire. Assembly Hall, Mound Place, 0131 623 3030, 8–31 Aug (not 17, 24), 11.45am, £12–£13 (£10–£11). Previews 6 & 7 Aug, £10.
ON THE SUNNY SIDE OF THE STREET Telling us the story of Broadway legend Dorothy Fields, Xara Vaughan takes this ideal opportunity to belt out numbers such as ‘Hey Big Spender’ and ‘I’m in the Mood for Love’. New Town Theatre, George Street, 0131 220 0143, 8–30 Aug (not 11, 18, 25), 5.45pm, £11–£13 (£9–£10; family ticket £32–£40). Previews 6 & 7 Aug, £7.
LOVE BIRDS It’s the age of vaudeville with penguins and parrots ruffling feathers in a show which has become the squawk of the town. But when their macaw star-turn goes missing, success is at risk. Pleasance Courtyard, Pleasance, 0131 556 6550, 8–31 Aug (not 19), 12.35pm, £9–£11.50 (£8–£10.50). Previews 5–7 Aug, £6.
PROMISE AND PROMISCUITY Penny Ashton channels Jane Austen as she mashes up the Regency and bonnets in the guise of one Elspeth Slowtree. Assembly George Square Studios, George Square, 0131 623 3030, 8–31 Aug (not 12, 17, 24), 2.40pm, £10–£12. Previews 6 & 7 Aug, £6.
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E R T A E H T : E G N I FR
The modern cult of celebrity doesn’t stop when a life ends. If anything, it cranks up the obsession even further. Gareth K Vile looks at some Fringe shows exploring a number of 20th-century icons and asks the actors why they want to step into a superstar’s shoes
76 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
T
hrough the magic of cinema, television and, more recently, the internet, deceased celebrities and personalities of the 20th century remain among us. If the ancient Romans placed a high value on the accuracy of portrait busts in order to hold their ancestors’ memories, the 1900s witnessed the rise of photo-realism memorials. This year’s Fringe presents several examples of theatre attempting to bring back the physical presence of departed performers. From dark comedian Bill Hicks (who died in 1994) through Tony Hancock (1968) to Sherlock Holmes creator Arthur Conan Doyle (1930) and Harry Houdini (1926), the dead are repopulating the stage. Elsewhere, Mata Hari turns up twice (in both a musical and a physical theatre solo which questions whether history has written her unfairly as a villain) while Albert Einstein: Relativitively Speaking promises a musical theatre trip through the physicist’s life and times. And Nina Simone is the subject of two musical shows that continue the legend and explore her life as a political activist. For Kevin McNally (perhaps best known as Joshamee Gibbs in the Pirates of the Caribbean franchise), the recreation of Tony Hancock in The Missing Hancocks is a labour of love and respect. ‘Hancock was the first comedian I can remember my father introducing me to when his TV shows were repeated in the mid-60s,’ he says. ‘My dad was so like Hancock and I instantly loved him.’ This enthusiasm made Hancock a direct influence on his approach to performance. ‘As an actor, I have always been influenced by his mix of comedy and straight acting. He was, after all, the first “straight” comic.’
DEAD FAMOUS THEATRE:FRINGE
‘I have Hancock in my bones’
Late ‘n’ alive: (left and above) Albert Einstein, Kenneth Williams, Tony Hancock, Nina Simone; (next page) Harry Houdini, Arthur Conan Doyle, Bill Hicks
Simon Cartwright, who is playing the titular comedian in The Man Called Monkhouse, has a more personal connection to his character. ‘There would be no play or performance from me if it weren’t for the friendship I had with Bob. His unconditional and avuncular support was so important to me.’ Cartwright sees his role as almost evangelical. ‘I feel very protective around Bob’s memory and the play gives me the immense responsibility and opportunity to share the truth and warmth of him.’ Although McNally and Cartwright are reviving popular British comedians, they perform in very different types of play. As The Missing Hancocks director Neil Pearson recently pointed out in a BBC interview, those scripts have never been seen before and despite being valuable documents of the past, they are still funny and contemporary. Cartwright’s Monkhouse, however, is a look into the personal life of a man who divided audiences, and revolves around the day when his book of jokes was stolen. ‘Our writer, Alex Lowe, made a conscious decision at the very beginning that the play was not going to be another “tears of a clown” story,’ continues Cartwright. ‘What we have is a very real and balanced reflection of his life both on and off stage. There was, of course, a huge amount of tragedy, especially with the deaths of his two sons, Gary and Simon. The play explores how Bob dealt with his emotions, almost placing them in a fourth dimension. There is a powerful moment in the play where he says, “I’ve learned to pretend to feel”.’ Bill Hicks: Dark Poet takes its story from the American stand-up’s biography Agent of Evolution, which recognises the serious themes
embedded in what appeared to be shock humour. The DVDs and recordings of Hicks’ shows, however, influenced the script and while the comic is pictured at the end of his life – he died at the age of 32 from cancer – Dark Poet promises to be part monologue, part acerbic stand-up. That show combines the biographical style of The Man Called Monkhouse with McNally’s presentation of Hancock’s performance persona. McNally is adamant that he won’t be offering a mere impersonation. ‘With a 30-year love of Hancock, I felt that I could be free to “invent” the scripts but with a deep understanding of how he might have responded to them. I was so immersed in him that I never worried about trying an impersonation. I have him in my bones and can be him with just a little nudge to the left of myself.’ And while Hancock suffered in his personal life with alcoholism before committing suicide, it is his persona – the uptight, anxious, witty man-not-quite-about-town – that defines him and provides the template for McNally’s performance. While Dark Poet and The Missing Hancocks work with familiar aspects of their characters, Nina Simone Black Diva Power tackles the jazz vocalist’s relationship with activist Lorraine Hansberry (the inspiration for her song ‘To Be Young, Gifted and Black’) and explores Simone’s development into a ferocious protest singer. Having already offered a more general overview of her work in Fabulous Diva, Ruth RogersWright’s Simone has support from Imat Akelo-Opio as Hansberry, making this less a jukebox celebration than a taut investigation into her political maturing. list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 77
FRINGE:THEATRE DEAD FAMOUS
In Soul Sessions, Apphia Campbell looks at the parallels between Simone’s life and her own. Having brought Simone to the Fringe with Black Is the Color of My Voice, Campbell has an intimate relationship with the singer. ‘I feel a great deal of responsibility towards her because it’s her life,’ she says. ‘Nina Simone was real. No acting. No hiding. That’s how I approach my performance.’ Campbell recognises the importance of Simone on her own career. ‘Feeling inspired by her music is how this whole play started. Nina Simone’s voice is what attracted me to her. What else could it be? She has one of the most interestingly haunting voices that I’ve ever encountered, and this made me want to know more about the woman behind that voice.’ If Soul Sessions aims to present Simone herself, other plays seek to use the past to comment on the present. Impossible brings together two-turn-ofthe-century legends, examining Harry Houdini and Arthur Conan Doyle’s falling out because of the latter’s belief in spiritualism. Yet, as Phill Jupitus (Conan Doyle) points out, ‘the story that the writers have picked out to tell, this odd incident towards the end of his life, is so fascinating in the times that we live in now when there seems to be an active conflict between the spiritual and the secular world.’ ‘I think the question of whether there is life after death is an eternal one,’ agrees Alan Cox, who plays Houdini. ‘Exploring the question through the characters of a celebrated writer of detective fiction and a man who made his living performing magic brings some interesting perspectives to theatrical life.’ Impossible takes another approach to the past, using it to examine ideas that retain currency. Cox also identifies how the characters bring in other themes: ‘what interests me is the dynamic of a celebrity friendship and how that plays out in public.’ 78 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
Celebrity, metaphysics, radical politics, comedy, biography, musical, radio play: the selection of characters who are receiving this kind of second life is diverse, but they all share an iconic presence which has helped to define the way that their art is understood today. The desire to use performance as a way of understanding the past goes back to the Greek theatre (Aeschylus invented the history play with The Persians), yet the emphasis on iconic characters from more recent times becomes a way of questioning the present. • Albert Einstein: Relativitively Speaking, Pleasance Courtyard, Pleasance, 0131 556 6550, 16, 20, 23, 27, 30 Aug, 3.30pm, £10– £11 (£8.50–£9.50). • Bill Hicks: Dark Poet, The Caves, Cowgate, 0330 220 1212, 10–23 Aug (not 18), 8.45pm, £5 (£3). • Impossible, Pleasance Dome, Bristo Square, 0131 556 6550, 8–31 Aug (not 17), 1.20pm, £12.50–£15 (£10–£13.50). Previews 5–7 Aug, £7.50. • The Man Called Monkhouse, Assembly Hall, Mound Place, 0131 623 3030, 8–31 Aug (not 17), 3.15pm, £13–£14. Previews 6 & 7 Aug, £10. • The Missing Hancocks, Assembly Rooms, George Street, 0844 693 3008, 4.15pm, 7–30 Aug (not 17), 4.15pm, £16 (£13), Previews 5 & 6 Aug, £10. • Nina Simone Black Diva Power, New Town Theatre, George Street, 0131 220 0143, 8–30 Aug (not 10, 17, 24), 7.45pm, £14 (£8–£12; family ticket £40). Previews 6 & 7 Aug, £7. • Nina Simone: Soul Sessions, Assembly Checkpoint, Bristo Place, 0131 623 3030, 8–30 Aug (not 12, 17, 24), 8.50pm, £12–£13.50. Previews 6 & 7 Aug, £10.
assemblyfestival.com 0131 623 3030
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FRINGE:THEATRE JOHN HANNAH
TITANIC STRUGGLE Invigorated by his return to the stage last year in Uncle Vanya, East Kilbride’s John Hannah (alumnus of screen projects as diverse as Four Weddings and a Funeral, Spartacus and Rebus) arrives at the Fringe in The Titanic Orchestra. A translation of the play by Bulgarian writer Hristo Boytchev, it starts with four vodka-soaked vagrants huddled in an abandoned railway station when they are accosted by a mysterious stranger (Hannah) who may or may not be Harry Houdini…
Is this your first time performing at the Edinburgh Festival?
It’s my first time back at the Festival since drama school, although I’ve played theatre in Scotland before, touring with Communicado and 7:84. It was pretty exciting the last time I did the Festival, as we were just students, so from our perspective it felt like being out in the big wide world. We did Under Milk Wood by Dylan Thomas, perhaps not the most natural job for a bunch of youngsters at the Festival, but there you go. We had fun; I remember it well. I’ve been to the Festival a few times since. It’s usually with work or if I’ve been in Scotland filming over the summer. Your character in The Titanic Orchestra: is he Harry Houdini?
We’re still a good few weeks away from starting rehearsals and so we’re asking those kinds of questions now. It’s an interesting piece; it reminds me of Waiting for Godot, although it’s perhaps more accessible than some of Beckett’s stranger moments. Yeah, those kind of decisions will be ones we take during rehearsals. What is the play about? What questions does it pose?
Ultimately it throws up the bigger questions of being, of who we are, what we’re doing and what we’re looking for. The ultimate questions, really. There’s an amusing element in terms of not just whether I’m Harry Houdini, but am I really there in the first place: am I a figment of somebody else’s imagination? When I first
read the play, it just made me laugh. And I’d worked with Russell [Bolam, the director] before on Uncle Vanya. He asked if I’d like to be involved and I loved the experience last time so much that I said yes. I think I may have been asked to play the Edinburgh Festival once before but I hadn’t been able to; it’s not like I was avoiding it or anything, it was just that this was the first real chance I had. First impressions suggest it’s quite a serious, existential play. In what way did you find it funny?
On a very basic level the dialogue is very funny, and the interaction between the characters is humorous and imaginative; there is a broad section of interesting people living round this railway station. There are also magical elements to the play as well; the fact that it’s Houdini – or somebody like Houdini – who was known as this great escape artist, sums up the existential dilemma about escaping from life that these characters are in the midst of. The orchestra on the Titanic was playing when the ship went down, of course, so the title uses this reference to sum up a certain attitude to life, to existence. I know after what he did with Uncle Vanya that Russell will bring something to the play that’s a lot more than can be understood from the script.
Which do you prefer: theatre or film work? Is it possible to judge them against each other?
No, I don’t think it is. You can have a great film script, great locations, great actors, be well paid and still have a bad experience. Or you can do something with no money and a questionable script and it ends up being a highlight of your life. It’s a bit of a lottery as to which experience you have, but I think the basic fact of the matter is that if you’re stuck with a turkey on stage, the director’s buggered off and you’ve got three months to continue doing it, it can be pretty painful. Whereas a film or TV thing is long over in three months and you’ve already been paid for it. But something must draw you back to the theatre?
I very much enjoyed doing Uncle Vanya, and when Russell mentioned doing something again I was interested. Plus, 30 years after leaving drama school, it seemed like a nice round number to be getting back to Edinburgh and playing the Festival again. Theatre’s not something you can ever completely turn your back on, even if you’ve had a bad experience, because the great moments you can have there are better than the great moments you have in film. (Interview by David Pollock)
Do you perform any magic yourself?
There are some magic tricks and illusions which are staged by the whole company and not just myself. I didn’t need to learn how to pull rabbits out of hats, fortunately, but illusions do form a part of the show.
80 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
The Titanic Orchestra, Pleasance Courtyard, Pleasance, 0131 556 6550, 8–31 Aug (not 17, 24), 5.25pm, £12.50– £16.50 (£10.50–£14.50). Previews 5–7 Aug, £9.
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Based on The Sopranos by Alan Warner, adapted by Lee Hall Directed by Vicky Featherstone
Funny, sad and raucously rude. A play about singing, sex and sambuca.
Traverse Theatre, Edinburgh 19â&#x20AC;&#x201C;30 Aug 2015 Preview 18 Aug 2015 Box Office: 0131 228 1404 traverse.co.uk And touring to Glasgow, Aberdeen, Inverness, Kirkcaldy, Musselburgh and Newcastle. For full details see nationaltheatrescotland.com Age recommendation: 16+ Contains adult themes and strong language @NTSonline #OURLADIES
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Please note that booking fees may apply on tickets, check with the box office when booking. The National Theatre of Scotland reserves the right to alter casts, performances, seating or ticket arrangements and latecomers may not be admitted. National Theatre of Scotland, a company limited by guarantee and registered in Scotland (SC234270) is a registered Scottish charity (SC033377).
Image by Peter Dibdin
list.co.uk/festival | Edinburgh Festival Guide 2013 | THE LIST 81
82 THE LIST | Edinburgh Festival Guide 2013 | list.co.uk/festival
TALK SHOW Chris Thorpe sees dialogue as a crucial part of his theatre. As he brings three productions to this year’s Fringe, Yasmin Sulaiman learns that the audience has a big part to play in making his work succeed
CHRIS THORPE THEATRE:FRINGE
A
nyone who saw Chris Thorpe’s Fringe First-winning show Confirmation last year won’t have forgotten it in a hurry. In his rigorous examination of confirmation theory – which he interrogated through real-life conversations with a white supremacist, in order to challenge his own liberal beliefs – he prowls and sweats, confronting the audience and forcing them to examine their own biases. Co-created with director Rachel Chavkin (from Fringe favourites The TEAM), it was one of the highlights of last year’s Festival season, and has since toured extensively around the UK against the backdrop of this year’s general election. But if you’ve missed it so far, there’s good news. Confirmation (given Thorpe’s emphasis on encouraging honest discussion, could just as easily be called Conversation) is returning to the Fringe during its last week as part of the British Council Showcase. ‘I think I’m lucky,’ Thorpe told me over Skype early in the summer while he was in Mannheim, south-west Germany, performing Confirmation. ‘The reactions have been fantastic to it. I’m really glad that people have engaged with it as they have done. It doesn’t necessarily mean that the show isn’t problematic for some people who see it, and that’s actually great too because it means I have some really interesting conversations during and after – hopefully mostly after – about what is going on.’ Dialogues are at the heart of Thorpe’s work, and this year he’ll also be bringing two new works to Edinburgh. At the Traverse, he and his friend / collaborator Jon Spooner will present Am I Dead Yet?, a show that looks at how death and resuscitation technology is changing, and asks the audience to talk about death, too (‘not in a morbid way’, he adds). He’ll also be reunited with longtime collaborator Hannah Jane Walker (their previous Fringe hits include The Oh Fuck Moment and I Wish I Was Lonely) for Human Resources, as part of Northern Stage’s programme at Summerhall. ‘That one’s about me and Hannah arguing, which is what all our shows have been about,’ he says. ‘Hannah’s really into genealogy and I’m not. She presents herself in the world as someone who is made of these stories, incidents that have happened to her that tell her something about who she is. Incidents that have happened to people way back in her family, people who she never even knew, yet somehow prove some kind of fact of what kind of person she is. To me, the actions of my ancestors aren’t really as important as the biological facts that they manage to pass on.’ For the show, Thorpe and Walker got their genomes tested. And though he’s not giving anything away, the results were surprising. ‘Weirdly, even though everything we’ve ever said about ourselves in all the shows that
list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 83
FRINGE:THEATRE CHRIS THORPE
THE RETURNED Confirmation isn’t the only show heading back after a successful recent Fringe run. Here are five more hits that might give you a touch of déjà vu
BETTE DAVIS AIN’T FOR SISSIES Californian actress Jessica Sherr channels her inner diva as she embodies the actress who fought tooth and nail for independence from the Hollywood system. Assembly Rooms, George Street, 0844 693 3008, 7–30 Aug (not 17), 3.45pm, £12 (£10). Preview 5 Aug, £10 (£9).
we’ve made are true, this is the most personal show we’ve made. I find that really difficult at points because I don’t really like talking about myself,’ he laughs. Am I Dead Yet? has a personal element too. ‘I think death is something you think about inevitably in a friendship when you’ve known someone for decades. Take any two people and there will probably be a moment in time when one of them is still on this planet and the other one is not. It’s a show about how to think about that, about each other, and about ourselves.’ It’s far from gloomy though: in the show, Thorpe and Spooner sing songs and invite the audience to talk to them about death. There’s also a scientific element, and experts on resuscitation have been consulted. ‘We can resuscitate a human being further into the process of death than we ever could before,’ explains Thorpe. ‘I think we have an idea of those resuscitation techniques as magic; we get that from films. You punch somebody’s chest, and of course that’s not real. But you may one day be in a position to resuscitate a person who is not ready to die yet. Those technologies are kind of irrelevant if we don’t also develop that individual awareness.’ And while his trio of shows for 2015 all touch on serious, existential topics, Thorpe insists, laughing, that they’re also lots of fun. What’s most important to him, however, is creating a safe space for audiences to have an honest conversation. ‘It’s possible to fall into the gap of thinking of theatre as a highly rehearsed, flashy TED talk or into the trap of what I call “wiki theatre”, where someone talks about the last five concepts they read about online,’ Thorpe says. ‘I think where theatre works best is when it exploits that in a positive way and with audiences that are open to new ideas. When it works best, it enfolds them in the process of engaging with those ideas and says: you are an active part. We have done the thinking, we have taken the responsibility of crafting an artistic experience for you, but you are a very necessary part of this happening. You’re the transmitter and the receiver. Because this isn’t the same every night. And it’s different tonight because you are here.’ Human Resources, Summerhall, 0131 560 1581, 10–30 Aug (not 12, 19, 26), 3.55pm, £12 (£10). Previews 8 & 9 Aug, £10; Am I Dead Yet?, Traverse Theatre, Cambridge Street, 0131 228 1404, 19–30 Aug (not 20, 24, 26), 11.15pm, 20, 26 Aug, 11.30pm, £18 (£8–£13). Preview 18 Aug, 11.15pm, £12 (£8); Confirmation, Summerhall, 0131 560 1581, 22–29 Aug, 11.50am, £15 (£12). 84 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
. . . AND THIS IS MY FRIEND MR LAUREL Jeffrey Holland revisits his lifelong ambition of playing Stan Laurel in an affectionate tribute which delves into the iconic comic’s partnership with Oliver Hardy both on and off screen. Pleasance Courtyard, Pleasance, 0131 556 6550, 8–31 Aug (not 19), 12.35pm, £9.50– £12 (£8.50–£11). Previews 5–7 Aug, £7.
SO IT GOES From On the Run comes the wordless story of Hannah and the relationship she had with her father who died when she was 17. A moving and delicate exploration of grief. Underbelly, Cowgate, 0844 545 8252, 24–30 Aug, 1.55pm, £12.50–£14 (£11.50–£13).
MARGARET THATCHER QUEEN OF SOHO She may be long gone, but Thatcher can still pull a fast one on the country, even if it’s in a cabaret setting. Matt Tedford resurrects the Iron Lady in a show built perfectly for those who can remember the 80s. Assembly George Square Gardens, George Square, 0131 623 3030, 8–30 Aug (not 17), 9pm, £12–£14 (£11–£13). Previews 6 & 7 Aug, £10.
BLAM! Die Hard meets The Office in an all-action frenzy of stunts, superheroes and staplers. Pleasance Courtyard, Pleasance, 0131 556 6550, 8–31 Aug (not 12, 18, 24), 5.55pm, £12.50–£16.50 (£10.50–£14.50). Previews 5–7 Aug, £9.
MADAMA BUTTERFLY – CIE NATHALIE CORNILLE
THE SOUNDIMALS TAMER – CHEEESECAKECIE
SKINS AND HOODS – CIE DU VEILLEUR
BRUIT DE COULOIR – CIE CLÉMENT DAZIN
L’ENFANT QUI... – CIE T1J
EDINBURGH FESTIVAL FRINGE INSTITUT FRANÇAIS D’ÉCOSSE 7–31 AUGUST 2015 VENUE 134
0131 225 53 66 WWW.VIVELEFRINGE.ORG
FRINGE:THEATRE PENNY ARCADE
86 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
PHOTO © STEVEN
MENENDEZ
PENNY ARCADE THEATRE:FRINGE
A LONG TIME COMING
An icon of the 1960s underground scene, Penny Arcade is back on the Fringe after 14 years away. Neil Cooper listens in as one of Warhol’s superstars mourns the cultural death of New York City
P
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BLACK CHILDE
Patti Smith, Ja ckie Curtis and Pe nny Arcade in 1971
PHOTO © LEE
enny Arcade is in a New York state of mind. Sitting in her apartment there, the sixtysomething performance artist, raconteur, activist and genuine force of nature takes stock of just how much the Big Apple has changed. The once-hip bohemia of Greenwich Village, where Beat poets and hippies defined generations, has become a slave to overpriced real estate, with its four zip codes ranked in the top ten most expensive places to live in America. CBGB, the club that sired New York’s punk and No Wave scenes and gave a platform to the likes of Patti Smith, the Ramones, Blondie, Television and Talking Heads, is sadly no more after a dispute over increased rent. Allen Ginsberg, Andy Warhol, Lou Reed and the Velvet Underground are all gone now, too, leaving a perfectly honed set of myths behind along with their poetry and art. Then there is Penny Arcade, the dervish-like native New Yorker who first shook up Edinburgh in the 1990s with her hit show, Bitch! Dyke! Faghag! Whore!. Now, Ms Arcade returns for the first time since 2001 with a new solo show. Longing Lasts Longer looks at ageing, nostalgia and loss by way of a torrent of words that is part stand-up routine, part anarchist manifesto and a call to arms for the underground to strike back. Judging by recent New York try-outs, the show’s core is formed by Arcade’s current bête noir: the urban gentrification that’s ripping the heart out of New York and many other major cities across the world. ‘Gentrification is over,’ says Arcade. ‘We’ve been colonised. It’s not just about gentrification of buildings, but gentrification of ideas. When ideas get taken over, what do you have left? The government and the state absorb rebellion, and Longing Lasts Longer is about authenticity. Culture is about people who live by their own values, people who preserve their independence, and people who put pleasure over security. And pleasure is a radical value, especially now we’re descending back into feudal times. Prince Harry just made that statement saying we should bring back National Service; but that’s no surprise because he grew up in a palace and was never in a punk band.’
hey used to say They that New York was the city that never sleeps, but for Penny Arcade, it’s now the city that never wakes up. ‘It’s called the Big Apple, but now it’s Cupcake City. It’s an infantilised museum. We’re living in peril of immense danger. It’s 2015 and 1984 has finally arrived. We used to be scared of Big Brother, but now he’s a lifestyle guru with a mojito in one hand and a skateboard in the other. But it’s in periods like this that the real spirit of rock’n’roll breaks out.’ Arcade could reel off eminently quotable epigrams like this ad nauseum. One-to-one this makes for exhilarating conversation, but put Arcade in front of an audience and her mix of rabble-rousing, ferocious intelligence list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 87
FRINGE FEATURE HEADLINE FRINGE:THEATRE PENNY ARCADE HERE
‘WHEN IDEAS GET TAKEN OVER, WHAT DO YOU HAVE LEFT?’
88 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
STOCK
and frontline service in the culture wars is an inspiration. Now aged 64, the artist formerly known as Susana Ventura has had a chequered career at the cutting edge of whatever underground scene was going at the time. In 1968, she became an 18-year-old member of John Vaccaro’s PlayHouse of the Ridiculous and appeared in painter Larry Rivers’ film, TITS. A year later she performed at La MaMa Experimental Theatre Club in Femme Fatale, a play by Warhol superstar Jackie Curtis, who would be immortalised in Lou Reed’s song, ‘Walk on the Wild Side’. As well as Arcade, that play also featured the first stage appearances of Patti Smith and Wayne (later Jayne) County. Arcade herself became a Warhol superstar, appearing in Paul Morrissey’s film, Women in Revolt, before decamping to Amsterdam with Vaccaro and co. After almost a decade in Spain, Arcade returned to New York in 1981, where she co-starred with Quentin Crisp in The Last Will and Testament of Quentin Crisp before improvising her own solo works which eventually led to Bitch! Dyke! Faghag! Whore!. In the 14 years since Arcade’s last visit, Edinburgh has also fallen prey to property developers who seem intent on imposing shiny new buildings on an increasingly homogenised landscape. ‘Edinburgh has been in the process of gentrification, partly brought on by the Edinburgh Festival itself, for 40 years,’ she states. ‘I know all about the gentrification of
ETT/REX SHUTTER
PHOTO © EVER
CBGB captured in its pomp during the 2009 film, Burning Down the House
Glasgow as well. I have friends who ran the Brunswick Hotel when it was the only business on the street. I’ve just been performing in Brighton, and I didn’t know why they behaved so prim and proper. This place was a cesspool of sex and violence!’ In an attempt to preserve her own city’s hidden cultural history, Arcade founded the Lower East Side Biography Project, a documentary filmbased oral history project designed to preserve the work of marginal artistic figures in their own words. To date, the likes of writer Herbert Huncke and singer Jayne County have been featured in this crucial ongoing archive. ‘It’s because of the actual erasure of history,’ says Arcade, explaining the motivation behind that project. ‘Place names, signs and places where a band played or where young people had a visceral experience are all being erased. That’s the point of gentrification, to rob people of their history. But young people want to know about those who did things on their own terms. You know, I wasted my youth, and I had a great time. We’re in the 11th hour of saving our lives, but I believe in love, I believe in anger and I believe in rock‘n’roll!’ Penny Arcade: Longing Lasts Longer, Underbelly, Cowgate, 0844 545 8252, 8–30 Aug (not 17, 24), 8.50pm, £10–£12 (£9–£11). Previews 6 & 7 Aug, £6.
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FRINGE:THEATRE GARY MCNAIR
RISKY BUSINESS
The new show from Gary McNair explores an old man’s eccentric gambling habits. Lorna Irvine chats to the acclaimed raconteur about taking big chances on stage
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harming Glasgow-based theatre-maker and performer Gary McNair often fuses the humorous with the poignant and subversive, mining comedy from unexpected places. In Crunch he encouraged people to get rid of their own money; his critically-acclaimed Donald Robertson Is Not a Stand-Up Comedian tackled childhood bullying; and more recently, anti-capitalist satire War on Christmas featured a department-store Santa Claus being met by a scabrous alcoholic who looked suspiciously like Jesus. His new Fringe show, A Gambler’s Guide to Dying, is directed by Gareth Nicholls who has worked with McNair before, notably on Donald Robertson. The result is an affectionate, one-man monologue focusing on a grandfather who put a bet on England winning the World Cup in 1966, spurring a gambling addiction. Upon being diagnosed with cancer in 1997, he bet everything that he’d survive to see the millennium. ‘Since I’ve been a young kid, I’ve always enjoyed the company of old people,’ explains McNair. ‘They fascinate me: they’ve been in wars and shit. They know how to work a garden and my god, they’re full of stories because they don’t have their minds rotted by mobile phones and the internet. My grandad was the first old guy I met, and hanging around with him was cool. He told me stories, taught me card tricks and how to draw. That sounds idyllic, doesn’t it? That’s the thing about memories: most of them do. They end up being polarised as you filter out the mundane to remember either the best or the worst of it. He kept a bit of magic in the world for me, and I’m grateful to him for that.’ 90 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
With such a rich source of storytelling in his family, it seems almost inevitable that McNair would follow that lead, but taking risks within a theatrical context is very much his own thing. ‘I’ve performed 25 minutes of bad puns to an angry mob at T in the Park. I’ve got up on a stage and asked the general public to shred their money. Some of them even did.’ But his intention is not simply knockabout or frivolous. ‘I’ve never believed in making work that has a sole purpose to be funny,’ he says. ‘The ideal is to use humour to get to something profound, challenging or political. And while I’d like to guarantee you’ll choke on your Maltesers snorting up a big laugh-bomb from a hilarious quip I’ve constructed (and I hope you will), this is quite a reflective piece; and with that, comes a certain emotional tone. Basically, I hope that any humour in this piece will help you to come along on the emotional journey.’ He cheekily acknowledges his iconoclastic approach, though, and regards himself as being in good company. ‘Dylan went electric, the Beatles went all White Album, and Britney Spears told the world to fuck itself and shaved off the blonde hair that the media had used to reduce her,’ McNair says before his conclusion. ‘With this show, I may even try to move you.’ A Gambler’s Guide to Dying, Traverse Theatre, Cambridge Street, 0131 228 1404, 7–30 Aug (not 10, 17, 14), various times, £18 (£8– £13). Preview 6 Aug, 9pm, £12 (£8).
5 - 30 Aug 2015 4pm (80 mins) No performances 12, 17 or 24 Aug. 0131 556 6550 | pleasance.co.uk
list.co.uk/festival | Edinburgh Festival Guide 2013 | THE LIST 91
FRINGE HIGHLIGHTS
OTHER HIGHLIGHTS
CAMILLE O’SULLIVAN: BREL
In this circus-free zone, we look at an improvising Irish comic, a man playing Britain’s first woman PM, a Cuban dance explosion and a poet who’s had a bath onstage LIAM WILLIAMS This 2014 Edinburgh Comedy Award nominee returns with Bonfire Night, which takes a look at the world around him. Free Sisters, Cowgate, 0131 622 6801, 6–19 Aug (not 17), 11.30pm; 20–30 Aug, 7.30pm, free. SUN KIL MOON Mark Kozelek has been keeping to his own agenda across three decades with Red House Painters and now as Sun Kil Moon. Summerhall, 0131 560 1581, 10 Aug, 8.30pm, £20. FOR NOW, I AM Marc Brew has created a dance piece which directly engages with the way his body is now, having changed forever after a car accident in 1997. ZOO Southside, Nicolson Street, 0131 662 6892, 22–30 Aug, 5.45pm, £12 (£10).
PIP UTTON: PLAYING MAGGIE He’s been Adolf Hitler, Charlie Chaplin and Tony Hancock, but now the pliable Pip Utton takes on arguably his toughest role to date: morphing into the most divisive PM this country has ever known. Assembly Rooms, George Street, 0844 693 3008, 7–30 Aug (not 17), noon, £10 (£9). Preview 6 Aug, £9 (£8). ALFIE WHITE: SPACE EXPLORER This year’s Tall Stories smash hit is the tale of a young boy who is obsessed with outer space. Luckily for him, his dad is training to be an astronaut. At least, that’s what he been telling all his pals . . . Pleasance Courtyard, Pleasance, 0131 556 6550, 7–30 Aug (not 19), 2.05pm, £8–£10 (£7–£9). Previews 5 & 6 Aug, £6.
Ireland’s fabulous chanteuse has gone from La Clique to the International Festival, but is back doing what she was born to do: sensational adaptations of classic songs, this time from the Brel oeuvre. Queen’s Hall, Clerk Street, 0131 668 2019, 11 Aug, 9.30pm; 12–16 Aug, 10.30pm, £17.50. STEWART FRANCIS The fastest punslinger in the west makes (though it’s hard to believe), his full Edinburgh Fringe solo debut. Expect one-liners, call-backs and breathtaking punchlines all the way. He is a Pun Gent, after all. Assembly Rooms, George Street, 0844 693 3008, 7–30 Aug (not 17), 8.10pm, £15 (£13). Preview 6 Aug, £14 (£12).
Stewart Francis
rock thing. Come along and see why Q mag voted them one of the top 50 bands you had to see before you die. Ross Bandstand, West Princes Street Gardens, 0844 844 0444, 27 Aug, 6pm, £32.50. THE GOSPEL ACCORDING TO JESUS, QUEEN OF HEAVEN
THE FLAMING LIPS As part of the Magners Summer Nights series of gigs, Oklahoma’s finest do their psychedelic alternative
The first time Jo Clifford put this play on, at 2009’s Glasgay!, it brought placard-waving evangelicals spilling onto the streets. Familiar stories from the New Testament are given a fresh spin, all in quivering candlelight. Summerhall, 0131 560 1581, 8–30 Aug (not 10 & 11, 17 & 18, 24 & 25), 10.45am, £12 (£10). Previews 5–7 Aug, £7; St Mark’s, Castle Terrace, 23 Aug, 9pm, £15 (£12). SAM SIMMONS This eccentric Aussie scooped the Barry Award in Melbourne this year. Who’s to say he won’t be leaving us at the end of August with another special gong in his back pocket…? Underbelly, Potterrow, 0844 545 8252, 8–30 Aug (not 17, 24), 9pm, £12.50–£14 (£11.50–£12.50). Previews 5–7 Aug, £7.50.
Liam Williams 92 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
FAKE IT ‘TIL YOU MAKE IT Bryony Kimmings and Tim Grayburn are a couple. She’s a performance artist. He’s an account manager. Together, they tackle the still largelyignored issue of male depression via music, dance and some onstage arguments. Traverse Theatre, Cambridge Street, 0131 228 1404, 7–30 Aug (not 10, 17, 24), various times, £18 (£8–£13). Preview 6 Aug, 1.30pm, £12 (£8).
HIGHLIGHTS FRINGE Tommy Tiernan
For Now, I Am
FUNZ AND GAMEZ TOO Last year’s sleeper hit gloriously bridged the gap between a fun kids’ entertainment and grown-up exploration of despair. With a Comedy Award panel prize to the show’s name, heck knows what they’ll have on the go for this follow-up. Assembly George Square Gardens, George Square, 0131 623 3030, 8–31 Aug (not 25), 3.20pm, £9 (£7.50). Previews 6 & 7 Aug, £7.50 (£6.50).
RAZ
CINEMA Both a personal drama and political statement, ZENDEH bring us the story of a cinema fire in 1978 Iran which killed over 400 people and marked a watershed towards a very different future for that country. Summerhall, 0131 560 1581, 10–30 Aug (not 12, 19, 26), 10.45am, £10 (£8). Previews 8 & 9 Aug, £8.
Olivier Award writer Jim Cartwright and actor son James team up for a story which nutshells the boozedup culture which breaks free at the weekend before normality resumes on a Monday. Assembly George Square Studios, George Square, 0131 623 3030, 8–31 Aug (not 12, 24), 4pm, £12.50–£13.50 (£11.50–£12.50). Previews 6 & 7 Aug, £10.
KATHERINE RYAN
JANIS JOPLIN: FULL TILT Angie Darcy’s passionate take on this iconic singer who felt pain and loneliness amid mass adulation is a must-see. Queen’s Hall, Clerk Street, 0131 668 2019, 24–30 Aug (not 27), 9.30pm, £15 (£12).
TOMMY TIERNAN The Irish comedy master keeps upsetting evangelists, but so what? Here, he pulls a daring trick out of his hat: a completely improvised show which doesn’t rely on the jobs of those in the front row or jocular audience suggestions. It’s all just coming out of his own talented head. Gilded Balloon, Bristo Square, 0131 622 6552, 16, 18, 20, 22, 24, 26, 28, 30 Aug, 7.30pm, £15–£16 (£14–£15).
BALLETRONIC All the way from deepest Havana, Ballet Revolucion delivers a spectacular world premiere of Balletronic, an explosion of classical and contemporary dance set to music from Daft Punk, Paloma Faith and Chopin. Can we say ‘sure-fire hit’? There, said it. Pleasance Courtyard, Pleasance, 0131 556 6550, 8–31 Aug (not 18), 9.30pm, £12.50–£16.50 (£10–£14). Previews 5–7 Aug, £7.
Janis Joplin: Full Tilt
TIM KEY In his last two shows, the former Coward has worked poetry-comedyvisual magic by having a bath and then a bed on stage. What intriguing household prop will he be utilising this time? Pleasance Courtyard, Pleasance, 0131 556 6550, 19–31 Aug, 9.45pm, £10.
The Canadian-born comic (from Sarnia, of all the wonderfully-named places) has come a long way from her Fringe debut singing in a pageant outfit (semi-ironically, of course) to becoming a singular voice on the stand-up circuit. Other comics like her. TV people like her. And so should you lot. The Stand 3, York Place, 0131 558 7272, 7–22 Aug (not 17), 4.25pm, £12. Preview 6 Aug, £10.
THE JENNIFER TREMBLAY TRILOGY Stellar Quines presents the full threesome of plays from the acclaimed Quebecois writer, following a woman’s journey of discovery about her past. Directed by Muriel Romanes,, with Maureen Beattie in scintillating form. Assembly Roxy, Roxburgh Place, 0131 623 3030, 8–31 Aug, various times, £12.50–£14.50 (£11–£13). Previews 6 & 7 Aug, £10. list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 93
SINFINI MUSIC BEHIND THE SCENES AT EDINBURGH INTERNATIONAL FESTIVAL Listen to Festival Soundbites and discover the stories and personalities behind the music.
Cutting Through Classical
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BALLETT AM RHEIN Having been regarded as the man who wholly revitalised Ballett am Rhein, Martin Schläpfer brings his company to the EIF instilling the power of Gustav Mahler’s ‘Symphony No 7’ into his dancers’ frames and souls. Dressed in heavy boots and dark coats, they appear to be steadily emerging from a lengthy journey but once the music and choreography merge into a tornado of activity, there’s a playfulness and humour which carries the piece into highly impressive places. Q Ballett am Rhein: Seven, Edinburgh Playhouse, Greenside Place, 0131 473 2000, 20–22 Aug, 8pm, £10–£32.
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INTERNATIONAL MAX RICHTER
Waltz With Bash ir
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MAX RICHTER INTERNATIONAL
‘I THOUGHT THE CRITICS WOULD DESTROY ME’ Once upon a time there was so little interest in the unclassifiable Max Richter that his work was being deleted. Ahead of the composer’s EIF debut, Kelly Apter hears how he prevented a Vivaldi classic becoming a degraded jingle
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rowing up in the 1970s, a visit from the milkman was part of everyday life. For most people, it simply meant a regular top-up of dairy, but for Max Richter it brought about a musical epiphany that was to shape his entire career. Calling round to the Richter household for payment one afternoon, their milkman heard an adolescent Max practising Mozart sonatas on the piano. ‘He took it upon himself to educate me in experimental music,’ recalls Richter during our chat at London’s Royal Opera House. ‘So, in the morning he’d leave pints of milk and the latest Philip Glass on vinyl. And that was in the late 1970s, before the internet, when you couldn’t hear that kind of music unless you were a really obsessive collector. So I had a real head-start.’ At the tender age of 12, Richter had already been composing for years, albeit mainly in his head (‘I didn’t really understand it was something you could actually do’). The arrival of Glass and his contemporaries lit a fuse in the young pianist, who then began building his own synthesisers with soldering irons. From there, studying music and composition at the University of Edinburgh and Royal Academy of Music introduced Richter to an even wider range of influences, until it was time to strike out on his own. Firstly he cofounded the contemporary classical ensemble, Piano Circus, then worked with groups such as Future Sound of London and Roni Size before creating a series of solo albums. All of which makes Richter something of a headache for record-shop owners and retail websites, wondering how to categorise him. File him under classical, electronic, soundtrack and several others: they all make sense. Although for Richter himself, it’s just music. ‘I’m suspicious of the idea of categories in music and this idea of things being in boxes,’
he says. ‘To me that seems unnatural. I write the music that somebody with my biography would write, and the thing that’s always driven me is an enthusiasm for the material. I sort of follow the notes to where they want to go.’ In recent years, wherever those notes go, plenty of listeners have been following. His solo albums Memoryhouse, The Blue Notebooks, Songs From Before, 24 Postcards in Full Colour and Infra have slowly gathered Richter a legion of fans. Over 50 films feature his work, including historical drama Lore, the award-winning animation Waltz With Bashir and Martin Scorsese’s Shutter Island. While on stage, his music has been used by dance companies around the world, as well as the National Theatre of Scotland productions Black Watch and Macbeth with Alan Cumming. In the last year, Richter has played to sell-out crowds at the Royal Albert Hall in London and Sydney Opera House, while this August he makes his debut at the Edinburgh International Festival. Was this how he thought his career would pan out? ‘No,’ he laughs. ‘I assumed no one would ever listen to my music; and for quite a lot of years, I was right. No one did listen. Memoryhouse came out and there was zero sales and not a single review; after about a year it was deleted. So I recorded The Blue Notebooks on a little indie label, and my attitude was, “well, if nobody is listening, I might as well keep doing what I’m doing”. It took ten years before anyone started paying attention at all; there really was tumbleweed in the beginning.’ Richter’s perseverance eventually paid off, although his explanation for keeping going says much about his approach to musicmaking: ‘I just had to keep doing it, it’s not like I have any choice about it.’ That deep, almost primitive need to compose perhaps explains why Richter’s music has such a profound effect
‘I follow the notes to where they want to go’
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INTERNATIONAL MAX RICHTER
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on his listeners. There are moments of unmitigated beauty and poignancy in Memoryhouse which can’t fail to move. Festival audiences will discover this for themselves when it’s played live alongside Richter’s most popular recording to date, Recomposed: Vivaldi Th Four Seasons, featuring – The the brilliant violinist Daniel Hop Hope. Ballett Zürich Recorded in 2012, that Re rewo reworking of the perennially pop popular violin concertos (which can also be heard during Wayne McG McGregor’s piece with Ballett Zür Zürich) was born out of a des to fall back in love with desire mu which, to his ears, had music alm been played to death. almost ‘I felt the Vivaldi was like b a beautiful landscape; but no ma matter how beautiful it is, if yo commute is the same your ev every day for 20 years, that la landscape just disappears an you stop seeing it. That’s and re really the experience I had w with The Four Seasons, w which is a beautifully made, a adventurous and interesting w work. I fell in love with it a a child and then fell out as o love with it because I of c commuted with it for 20 y years, through TV and advertising. It just became like a jingle, which I felt
was degrading to the work. So this was me trying to take a new route through that beautiful landscape, sort of off-road, to rediscover it.’ Some would argue (though most certainly not Richter himself, who looks horrified when I even suggest it) that his recomposition of The Four Seasons is even better than Vivaldi’s. Others who haven’t heard it may, quite understandably, wonder what a ‘recomposition’ even is. In short, over 75% of the original score is gone, replaced by Richter’s own music. Yet the entire work is most definitely identifiable as Vivaldi’s The Four Seasons. ‘It’s funny, isn’t it?’ says Richter. ‘There are whole movements where there is basically no Vivaldi, in terms of actual notes. “Spring One” probably has only four bars of Vivaldi in it, but it feels like it’s all Vivaldi. It’s odd. It’s a bit like walking around a sculpture, you just sort of see it from a different angle.’ Taking such a well-loved work and reinventing it was a risky move on Richter’s part, but one which, again, he felt he had no choice in. ‘I just had to do it; I needed to get it out of my system,’ he says. ‘I thought the critics would probably destroy me for it, but I just did it anyway. And honestly, there has been a little bit of that but not much; I thought it would be worse. Generally speaking, people have taken it in the spirit in which I wrote it, which is as an act of affection. It’s a conversation with the original, but it’s also trying to shine a light on it afresh. And I think people have accepted that.’ Max Richter: Recomposed / Memoryhouse, 24 Aug, 8pm, £10–£32; Ballett Zürich, 27–29 Aug, 7.30pm, £10–£32. Both shows at Edinburgh Playhouse, Greenside Place, 0131 473 2000.
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Supported by
The Pirie Rankin Charitable Trust With additional support from
The Embassy of the Kingdom of The Netherlands and Institut français d’Ecosse Produced by the Barbican and Les Théâtres de la Ville de Luxembourg, in association with Toneelgroep Amsterdam Co-produced by Edinburgh International Festival and Théâtre de la Ville – Paris and Ruhrfestspiele Recklinghausen Photo Gavin Evans Charity No SC004694
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INTERNATIONAL LANARK
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LANARK INTERNATIONAL
‘I HAD NO INTENTION OF BECOMING A TRAGEDY’
Citizens Theatre is attempting the near-impossible task of bringing Alasdair Gray’s Lanark to the stage. Mark Fisher asks those close to both the original book and this EIF production what that classic of Scottish literature means to them
ALASDAIR GRAY Author and artist
When I was about 17, I began to get the idea of the novel which became the ‘Thaw’ section of Lanark. It was going to be my Glaswegian version of Joyce’s A Portrait of the Artist as a Young Man. I decided it was going to end not with the hero leaving his native city to ‘forge the conscience of his race’. Instead, he would find that making himself a great artist in Glasgow was impossible, he would go mad and commit suicide. I was going to make a tragedy of it. I had no intention of becoming a tragedy myself, but that was going to be my plot. When I was about 18, at the end of my first year at art school, I set out to write that story and managed the first chapter of the ‘Thaw’ section. I had also conceived a notion of a second novel, a Kafka-esque one, which would start with the arrival in this city (a version of Glasgow) that was close to being hell. I’d begun imagining the ‘Lanark’ novel. Then I read a book called The English Epic and its Background, which was a study of epic literature, by EMW Tillyard. It gave me the idea that the epic form, as he described it, unified every possible kind of literature, and so I came to the conclusion that my ‘Lanark’ novel and my ‘Thaw’ novel were two different aspects of the same thing and therefore I conceived the necessity of uniting them. It was about 1964 or 1965 that the need to unify these two stories occurred to me and it was 1979 before I believed I’d completed them and got Canongate to accept them. It wasn’t until 1981 that it was published. I was boosted by a vast amount of vanity. There were times when I thought I would be dead before it was published. Like Milton, I was trying to write a book that the world would not easily let die and I thought, ‘perhaps after I’m dead, it will make its way’. I didn’t expect it to do so quite so fast. I’m pleased. Mind you, I don’t think it’s as good as my second novel, 1982, Janine which does the things that Lanark tried to do but in a shorter space. And the central character is more genuinely an ordinary man.
SORCHA DALLAS Art agent for Alasdair Gray
Like a lot of students, I read Lanark when I went to Glasgow School of Art. Walking in the footsteps of that character was inspiring and it really did alter my way of thinking. Growing up in Glasgow, I’d been in the Ubiquitous Chip, I’d seen the murals, and seen bits of his artwork around. The discovery for me was the breadth of his visual work. Even if he was just a visual artist, it would be pretty incredible, never mind the fact that he writes plays, novels and poetry, and is politically outspoken. Because of the scope of his work, you realise the amount of people who value him. He is a figure who made it OK to stay in Glasgow and have an international career. Particularly for that Transmission generation of artists, that was very inspiring. The production of Lanark came out of the Alasdair Gray retrospective at the end of last year. It is such a seminal text and it seemed an important time to revisit it. list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 101
INTERNATIONAL LANARK
GRAHAM EATOUGH Director of Lanark
When we did our first Edinburgh Fringe in 1990, David Greig gave me a copy. He said, ‘read this, it’s the best Scottish novel of the past decade’. It had a profound effect on me, just as it had on him. When I moved to Glasgow, it acted as a bit of a guide book. Although it presents a very dystopian version of the city, it rang true for me when I arrived. I came in winter and it was just grey all the time, with these looming tenements that I’d never seen before. Going back to it, what I was impressed by was how much it seems an autobiography. It’s emotionally raw in its exploration of personal feelings and history. He wrote it when he was going through difficult times and struggling to find his place in the world artistically. The book is about finding your place in the world, connecting with others and finding a role. The book did that for Alasdair.
DAVID GREIG Adapter of Lanark
I can’t overestimate how important Lanark was to me. It felt like a huge door of possibility opening. If someone who came from the place where I’d come from could write this extraordinary thing, then the place where I’d come from could be the entire world. Until that point, I hadn’t really known you were allowed tto do that. Suddenly it was possible. Once you know a door’s oopen, you can go through it, but it takes an incredible act of im imagination and labour to go through the door. Now I’ve adapted it, I realise there’s more to it than even people w who study literature degrees know. Sometimes you adapt a book an and it’s a great book when you first look at it, but as you get in cl close, you reach the bottom of the pool. With Lanark, you could go in any direction. I could adapt it in 27 different ways and it wo would be justified. The pool has no ending because he’s created a rea real world and you could just go off exploring. It’s an astonishing ach achievement.
NICK MCCARTHY NIC N Franz Ferdinand guitarist and musician on Lanark Fran F
PHOTO © DAV
ID EDWARDS
I moved m to Glasgow from Bavaria, which is Sound of Music country, an and it was definitely a shock to me. I didn’t come to terms with it for ab about a year. Right above the flat I was living in was this bohemian old la lady called Carole Gibbons. It turned out that she was a really good fr friend of Alasdair’s and someone told me that she was a figure in this bbook. So I bought it and, sure enough, there was this stunning redhead in the Elite Café who was part of the gang. That’s Carole. A few years later, my wife was at the art school and she did this eexhibition in our flat and asked Carole, who’s also an artist, to exhibit as well. Alasdair came over to do a little speech and tell us about how beautiful she used to be and how everyone was in love with her. I thought Alasdair was amazing and I totally loved the book, it was so modern and so grim and went off into these terrible worlds. It’s one of the best books I’ve ever read. It made me start to really like Glasgow. Now I totally love it.
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Lanark: A Life in Three Acts, Royal Lyceum Theatre, Grindlay Street, 0131 473 2000, 23 Aug, 6pm; 24–30 Aug (not 26), 7pm; 25, 27, 29, 31 Aug, 1pm, £10–£32.
ROBERT LEPAGE INTERNATIONAL
BEYOND THE FRINGE Every August, Stewart Lee arrives in Edinburgh determined to experience a life-changing cultural event. For the comedian, bets don’t come much safer than on a Robert Lepage production
PHOTO © RICHARD HARD
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’ve worked at the Edinburgh Fringe every year since 1987, except in 2001 when I was too broke to run up the usual performer debt. I used to aim to see 100 of the 2000 or so shows in the Fringe. Now, with kids to care for and the need for sleep, I aim for a more achievable 30. Most years I used to luck out and witness something life-changing: Will Adamsdale’s Jackson’s Way in a cave in 2004; Derevo’s La Divina Commedia in a Big Top two years earlier; Jerry Sadowitz exploding at the Gilded Balloon in ‘87; Nick Pynn playing tuned wine glasses to capacity crowds of two dozen in candlelit attics throughout the noughties; Jeff Buckley at the now burned down Belle Angele in ‘94; Bert Jansch repeatedly at the Acoustic Music Centre; and Daniel Kitson in various years in various spaces, just talking, but taking everyone to amazing places. Every few years I steel myself to splash out on something expensive in the main Edinburgh International Festival – Philip Glass’ Koyaanisqatsi, a Beckett adaptation – but however good the productions are, I always wonder why I have spent tens of pounds there when I could have spent ten pounds, or no pounds at all, on something uncertain in the Fringe.
This year, my International Festival excursion is the French-Canadian theatre-maker Robert Lepage’s 887. Nearly two decades ago now, I went out with a talented theatre producer who force-fed ignorant me with some work of the contemporary greats. We saw Lepage’s The Far Side of the Moon in some massive temple of culture in London, a big production piece which offset an epic depiction of the space race against the small intimate story of two brothers (both played by Lepage) dealing with the death of their mother. At the time I was working in music-theatre, an idiotic idiom where vast funds are routinely and demonstrably squandered to justify extortionate ticket prices. But Lepage used his resources to reach out from the impregnable citadel of theatre and take hold, delicately, of the human heart. And he has done so whenever I have seen his work since. 887, EICC, Morrison Street, 0131 473 2000, 13– 15, 18, 20, 23 Aug, 7.30pm, 16, 19, 21 & 22 Aug, 2.30pm, £32; Stewart Lee: A Room With a Stew, Assembly Rooms, George Street, 0844 693 3008, 8–30 Aug (not 17), 2.15pm, £12.50. list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 103
INTERNATIONAL THE MAGIC FLUTE
CALLING THE TUNE
Komische Oper, Barrie Kosky and 1927 have all combined to give The Magic Flute a very fresh spin. David Kettle gets the lowdown on a production filled to its rafters with spiders, wolves and vampires
‘I
was bored shitless when I was taken to my first Magic Flute as a boy in Australia.’ It’s hardly the kind of admission you’d expect from an opera supremo, but it’s refreshing to hear Barrie Kosky – Intendant (or artistic director) of Berlin’s Komische Oper – admit that Mozart’s most famous fairytale opera can sometimes be, well, problematic. With its strange, symbolist story, baffling birdman and birdwoman characters and enchanted musical instruments, it’s not unknown for the opera to fall awkwardly between a children’s fairytale and adult allegory. But that’s not a reaction he’s had, thankfully, to the Komische Oper production which is heading to the Edinburgh International Festival in August. It has been adored across three seasons in the German capital, as well as in Los Angeles and Minnesota, while Kosky reveals that further productions in China, Finland, Spain and elsewhere are set to continue its global takeover. The reason, almost certainly, is that it’s like no Magic Flute that’s ever been seen before. And that’s down to the involvement of UK theatre company 1927, well-known to Fringe audiences for Between the Devil and the Deep Blue Sea in 2007 and 2011’s The Animals and Children Took
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to the Streets. 1927 fuse animation and live action, with actors (or opera singers) performing as part of a grand projected tableaux evoking the age of silent movies or Gothic weirdness, all painstakingly drawn by company co-founder Paul Barritt. It’s a technique that works to bewitching effect in The Magic Flute with enormous bone spiders, jiving wolves, Nosferatu, Buster Keaton and butterfly boys among a never-ending production-line of gags and visual inventiveness. ‘We hadn’t done The Magic Flute at the Komische Oper for a while so I had to find a way to do it radically different,’ remembers Kosky of the show’s origins. ‘A friend told me I should go and see this British company when they were touring in Hanover, and within the first 30 seconds of their show, I thought, “aha, this could be an interesting way of approaching it”.’ 1927’s co-founder Suzanne Andrade continues the story. ‘Paul and I met up with Barrie and he asked us if we’d like to work with him on Flute. We said yes straight away, never having listened to The Magic Flute and not even knowing anything about Mozart.’ That began a three-year development process which wasn’t without its hurdles. ‘I had ideas as soon as I started listening to the opera,’ continues Andrade. ‘But I also
THE MAGIC FLUTE INTERNATIONAL
PHOTOS © IKO FREESE, DRAMA-BERLIN.DE 1
‘In Los Angeles they were absolutely screaming with laughter’
had to get over a few prejudices when I started with the music and I made the terrible mistake of going on YouTube to watch some other versions of the opera, with Papageno and Papagena dressed up as massive fucking birds. I ended up thinking, “what have we done”?’ Opera directors do indeed sometimes scratch their heads about what to do with Mozart’s bizarre characters, but Kosky set the 1927 duo on the right track. ‘I told them watching other productions was the worst thing they could do. I wanted them to look at The Magic Flute in a completely new way, with their own visual and theatrical language. So we sat around my kitchen table and their kitchen table and restaurant and café tables in Berlin and elsewhere, storyboarding it for a solid year. There was an awful lot of tea and red wine consumed.’ Andrade was soon won over by Mozart’s music. ‘We just listened to the music and responded as truthfully and creatively as possible, and that’s when it started to get interesting. The music really is amazing; the libretto isn’t, as it feels like it was thrown together in a few days, but the music carries it. We wanted to strip the libretto down to its bare bones and tell the story as simply as possible and to do it in the style of silent film.’ Thus Papageno becomes a Buster Keaton character, accompanied by an animated cat (Andrade: ‘I didn’t know if I could empathise with Papageno, but I can definitely empathise with his cat!’), the spidery Queen of the Night’s slave Monostatos becomes Nosferatu, and the Three Ladies are 1920s flappers. As for how the music and animation work together, it’s easy to assume that it’s all done by click track with the musicians and singers simply following the speed of the projections. But that’s not the case. ‘We made loops of animation,’ explains Andrade. ‘The conductor could then conduct at whatever speed they want, and then we have a button-presser who’s controlling hundreds of cues per scene. We used to work with a click track, but now we always work in that responsive way.’
It’s a misunderstanding that led to undue criticism when the production was premiered in 2012. ‘A good 90% of reviews were raves but there were some German critics who absolutely hated it,’ recalls Kosky. ‘They were outraged by what they thought was just a film with the live music as a soundtrack.’ There may also have been a sense of outrage, though, that it was a show which firmly attracted opera non-aficionados; not by dumbing anything down, but by a radically fresh creative vision. ‘In Berlin it’s almost like a cult production, with people coming six or seven times to see it,’ says Kosky. ‘And I thought Berlin audiences reacted very positively to it until I went to Los Angeles, where they were absolutely screaming with laughter: we sometimes had to stop the film. And it’s also a godsend for seasoned opera audiences who are sick to death of The Magic Flute and bowled over that they can go and see a production where they’re surprised at every aria.’ Its spectacular success might just have set a new trend for 1927: their most recent (non-opera) production Golem is currently on a world tour, but they’re set to work on a new operatic double bill at the Komische Oper for 2017, as well as a new project with London’s Royal Opera House. ‘We’ve had a lot of opera offers that we’ve turned down,’ says Andrade. ‘We’re trying not to miss out on opportunities but we don’t want to fall into the trap of thinking, “let’s do a 1927 on this opera”. We want to stay true to the things we want to do, and to make sure that every project moves us on.’ The Magic Flute, Festival Theatre, Nicolson Street, 0131 473 2000, 27 & 28, 30 Aug, 7.15pm; 29 Aug, 5pm, £18–£76. list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 105
INTERNATIONAL FANFARE
COMMUNITY CHARGE Fanfare will feature brass music being played in various parts of the city for a one-day sonic explosion. Fiona Shepherd hears from those behind a project which seeks to bring Scottish bands out of their shells
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t was once popularly said that where there’s muck, there’s brass. And there were brass bands too. This honorable, egalitarian music tradition was originally rooted in working communities, springing up in earnest around mining and mill towns in the mid-19th century. ‘Anything other than a brass band or a pipe band was looked on as being aloof or upper class,’ says John Boax, education officer for the Scottish Brass Band Association. ‘To play in an orchestra was not the thing that a working man would do but they could play a brass instrument. Even if they’d worked hard all day, they could still manage to play a cornet or a trombone. It brought the working men together so that they could let off steam after their day down the pit.’ The decline of industry and the advent of dedicated instrumental teaching on the school curriculum has altered the make-up of brass bands over the years but the appeal for players and listeners remains the same: it’s a very sociable activity with a varied repertoire. ‘The brass band can play pretty much anything you ask it to, whether that’s a piece of jazz, a section from an opera, or something written by Elgar,’ says Sally Hobson, the EIF’s head of creative learning. ‘Plus there is a lot of new music being written for the brass band which is really interesting.’ The likes of Yorkshire’s Brighouse and Rastrick Brass Band – who collaborated with folk act the Unthanks on traditional and original material in 2011 – are still going strong, but both Hobson and Boax mention that Scotland is still shy about proclaiming its brass band culture. Boax estimates that there could be as many as 500 brass bands in Scotland (most located in the central belt), encompassing competition and non-competition bands, plus school, college and community groups. The International Festival hopes to make some noise on their behalf with Fanfare, an all-day event dedicated to brass band music which has been devised in response to the visit of Belgian dance company, les ballets C de la B. Their show, En avant, marche!, is set in a rehearsal room and explores the theme of community ties. The plan for Fanfare, meanwhile, is to link different parts of Edinburgh through the warm blast of brass. Twelve bands from around Scotland have been invited to play simultaneous concerts throughout the day in different locations around the city – for example, along the Water of Leith – which are beyond the main Festival thoroughfares. The repertoire will vary from band to band but, at certain points in their performances, all of them will play the same pieces, creating a massed fanfare. ‘Hopefully there will be some contemporary tunes in there too because I wanted to get away from some of the preconceptions of oompah bands and draw out more poignant contemporary flavours,’ says Hobson. ‘There is a renaissance of brass music happening in other parts of the UK as well as in Europe.’ Fanfare, various venues, 0131 473 2000, 23 Aug, various times, free; En avant, marche!, King’s Theatre, Leven Street, 0131 473 2000, 24 & 25 Aug, 8pm, £12–£32. 106 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
PHOTO © STEPHAN VANFLETEREN
HIGHLIGHTS INTERNATIONAL
OTHER HIGHLIGHTS Fergus Linehan’s debut year as director looks set to mark a brave new EIF dawn. We pick out a few extra must-sees including a rodeo pop star, a one-word play and innovative flamenco SUFJAN STEVENS With his new album, Carrie & Lowell, the Detroit-born singer-songwriter has returned to his folk roots. Stevens’ music will also be heard in Round-Up at The Hub with Yarn / Wire performing a live score of his work on this rodeo film. Edinburgh Playhouse, Greenside Place, 30 Aug, 8pm, £20–£30; The Hub, Royal Mile, 29 Aug, 10pm, £25. THE LAST HOTEL
This new chamber opera comes from the pens of writer Enda Walsh and composer Donnacha Dennehy. Whenever you see a man mopping a bloodied floor in a hotel you can generally sense something is not quite right. Royal Lyceum Theatre, Grindlay Street, 8, 10–12 Aug, 8pm, £12–£35. Preview 7 Aug, £8–£15.
TAO DANCE THEATRE Accompanied by the music of US minimalist Steve Reich and Chinese folk-rock composer Xiao He, TAO delivers another hypnotic performance which explores the human body as a purely visual form. Royal Lyceum Theatre, Grindlay Street, 17 & 18 Aug, 8pm, £10–£32. MURMEL MURMEL This year’s EIF seems to be rife with works previously believed to be unstageable. Hot on the heels of Lanark comes this adaptation of Swiss artist Dieter Roth’s psychedelic slapstick in which just one word is spoken throughout and often: ‘murmel’ (translated as mumbling). King’s Theatre, Leven Street, 28 & 29 Aug, 8pm; 29 & 30 Aug, 3pm, £12–£32. FFS A meeting of perfect art-pop minds here with Franz Ferdinand (the FF) and Sparks (they’ll be the S, then) bridging the decades to collaborate on some urgent modern and theatrical music. Festival Theatre, Nicolson Street, 24 Aug, 8pm, £20–£25.
Real, he pulls singers, musicians and dancers together to portray the plight of Roma and Sinti in pre-WW2 Spain. Festival Theatre, Nicolson Street, 19–21 Aug, 7.30pm, £12–£30.
the festival’s digital media partners, Sinfini Music, who produce comic strips (check out the Marriage of Figaro opera panel above), films, playlists, podcasts, guides and competitions. sinfinimusic.com.
LO REAL Born deep into the flamenco tradition, Israel Galván has embraced and transformed the genre with work such as his take on Kafka’s Metamorphosis. For Lo
FESTIVAL SOUNDBITES The EIF isn’t just about popping into a play or concert and then disappearing off into the day or night. You can now sample more classical music online thanks to
OSLO PHILHARMONIC ORCHESTRA On evening one, Vasily Petrenko conducts Grieg’s Peer Gynt and Rachmaninov’s ‘Symphony No 2’ while show two features Nicola Benedetti performing Sibelius and Geirr Tveitt. Usher Hall, Lothian Road, 15 & 16 Aug, 8pm, £12–£44. THE ENCOUNTER In 1969, a photographer found himself lost among the people of a remote valley deep in the rainforest. Complicite and Simon McBurney retrace his voyage. EICC, Morrison Street, 8–10, 16 & 17, 19, 21 & 22 Aug, 7.30pm; 14 & 15, 20, 23 Aug, 2.30pm, £32. Preview 7 Aug, 7.30pm, £15.
Murmel Murmel
VIRGIN MONEY FIREWORKS CONCERT This spectacular finale to the Festival season is never anything less than a musical and pyrotechnical extravaganza, and this year two Strausses, Brahms and Dvorák will be helping the month end with a sonic and visual explosion. Princes Street Gardens, 31 Aug, 9.30pm, £17.50–£27.50. Q For tickets call 0131 473 2000. list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 107
JAZZ LIST.CO.UK/FESTIVAL/JAZZ
GH EDINBUBRLUES JAZZ &TIVAL FES 17–26
JUL
MARC ALMOND Having worked on operatic and theatre-music projects over the last few years (including Ten Plagues: A Song Cycle which he performed at the 2011 Fringe), Marc Almond has fallen back in love with pop. He stated that his recently released collection, The Velvet Trail, was the easiest and most enjoyable album he’s made during a career that goes back to the late 70s. For this gig, he’s centre stage with Jools Holland who had him on his 2005 New Year Hootenanny singing the rather appropriate ‘Say Hello, Wave Goodbye’ (yes, we all know they film it in late November or something). Other vocal talents on show for this gig are Ruby Turner, Louise Marshall and Mabel Ray. Q Marc Almond with Jools Holland & His Rhythm & Blues Orchestra, Festival Theatre, Nicolson Street, 0131 473 2000, 25 Jul, 7.30pm, £36–£52.50.
HIS WAY
FRANK SINATRA JAZZ
On the 100th anniversary of his birth, Frank Sinatra is given the red carpet treatment by the Edinburgh jazz community. We hear from those at the festival who still hold Ol’ Blue Eyes dear BOB MCDOWALL Producer of BBC Big Band Sinatra Centenary Concert
‘It’s Frank’s world, we just live in it’. That was Dean Martin’s appraisal of his fellow Rat Packer’s influence on the world around him. Frank Sinatra’s musical legacy continues to influence so many artists in today’s music world. In a career spanning some 60 years, Frank Sinatra was, and for many still is, the greatest ever interpreter of popular song. The chance to celebrate his music as realised by his greatest collaborators (arranger Nelson Riddle and Billy May) in the company of Todd Gordon, Jacqui Dankworth and Curtis Stigers is something the BBC Big Band are all very much looking forward to.
TODD GORDON
‘HE WAS THE GREATEST EVER INTERPRETER OF POPULAR SONG’
Singer in BBC Big Band Sinatra Centenary Concert
After discovering his music when I was just 11 years old, Frank Sinatra changed my life. On hearing the seminal album, Songs for Swingin’ Lovers!, I started to wonder: when did he breathe? Then I was captivated by the wonderful Nelson Riddle arrangements and that was it: another lifelong Sinatra fan was born. I still recall mum saying: ‘you’re spending all your pocket money on Sinatra LPs; what’s going to happen when you tire of his music?’ Little did she (or I) know that some 30 years later, his influence would result in my later career as a jazz / swing singer. I only saw Sinatra perform twice: the first time was at the Royal Albert Hall (or ‘Francis
Albert Hall’ as he often referred to it) with Buddy Rich and his band. I was rather naive and didn’t realise how much ticket agents could charge. I therefore thought my £55 seat was going to be ringside. Instead, I had a close-up view of the ceiling’s plasterwork! Six years later, I saw him at Ibrox during the 1990 Glasgow City of Culture season of events and he was in great form, as indeed was Carol Kidd who opened for him. There will never be another Sinatra. His voice, his innate musicality and emotional honesty when delivering a lyric, the great songs he recorded, and the amazing musicians and arrangers he worked with: they all contributed to the timeless musical legacy he has left for us and future generations to enjoy.
DAVE BATCHELOR Writer and director of Frank Sinatra: A Man and His Music
Scotland only had two chances to hear Frank Sinatra sing live. The first was in the early 50s when he was at his lowest ebb. Nobody came and he was miserable. The second time was at Ibrox in 1990 in front of thousands of adoring fans joining in with every song. Both of these concerts feature in the music drama I’ve written for the festival. I was at the Ibrox show and it was one of the most inspirationally wonderful concerts I’ve ever experienced. I needed to remember it whenever I was writing a scene where Frank was particularly difficult. After the concert 25 years ago, some friends and I went off to eat and we favoured the restaurant with our renditions of the whole show, still high on the Chairman of the Board’s singing. Glasgow tolerance meant we weren’t chucked out as we probably should have been. BBC Big Band Sinatra Centenary Concert, Festival Theatre, Nicolson Street, 0131 473 2000, 17 Jul, 8pm, £24.50–£37.50; Frank Sinatra: A Man and His Music, Spiegeltent, George Square, 0131 473 2000, 26 Jul, 8pm, £15. list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 109
JAZZ SONGHOY BLUES
MALI REIGN
TOP 5 JAZZ
Songhoy Blues were born out of conflict and exile. As they head back to these shores, Stewart Smith sings the praises of this powerful and rhythmic group TOMMY SMITH’S KARMA The Scottish National Jazz Orchestra leader comes back home to Edinburgh with Kevin Glasgow on bass and the rest of the Karma crew which he has dubbed his ‘grunge band’. Festival Theatre Studio, Nicolson Street, 18 Jul, 5.30pm, £15.
AMBROSE AKINMUSIRE QUARTET Ever since his 2007 debut, Prelude . . . to Cora, this Californian trumpeter has been tipped for very big things. With a Thelonious Monk International Jazz award under his belt and five-star reviews for his most recent Blue Note collection, The Imagined Savior is Far Easier to Paint, his star is going nowhere else but up the way. Spiegeltent, George Square, 18 Jul, 8.30pm, £16.
REMEMBERING CHET With Colin Steele on trumpet, Euan Stevenson on piano and Iain Ewing providing the vocals, this afternoon tribute is to the man once described as ‘James Dean, Sinatra and Bix, rolled into one’. It’s bound to be a treat for the hardcore fans and should be an intriguing show for those wanting to know what all the fuss was about. Tron Kirk, High Street, 21 Jul, 1.30pm, £8.
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eturning to Scotland after two triumphant shows at January’s Celtic Connections, Mali’s Songhoy Blues head up the Edinburgh Jazz and Blues Festival’s new talent Firsts strand. Their energetic take on the desert blues of the great Ali Farka Touré has resulted in them winning over rock and indie fans as well as world music aficionados. The band members hail from the Songhoy region on the banks of the Niger, where they grew up listening to hip hop, Hendrix and traditional West African music. Following the armed takeover of the region by Islamist jihadists in 2012, the musicians and their families fled to the Malian capital of Bamako. While there, bassist Oumar Touré and singer Aliou Touré met guitarist Garba Touré. ‘We told ourselves we couldn’t just stay shipwrecked by a crisis like this,’ recalls Garba Touré. ‘We had to form a band.’ With the addition of drummer Nathanial ‘Nat’ Dembele, Songhoy Blues were born. Having come to the attention of Amadou & Mariam’s manager Marc-Antoine Moreau, Songhoy Blues took part in the Africa Express project, leading to a collaboration with Nick Zinner of New York art-rockers the Yeah Yeah Yeahs on the blazing ‘Soubour’. The band’s debut album Music in Exile, produced by Moreau and Zinner, emerged in February this year on British indie label Transgressive. The single ‘Al Hassidi Terei’ encapsulates their sound, opening with a stirring harmonised chorus before kicking into an edgy syncopated shuffle, all smouldering guitars and driving percussion. The upbeat ‘Ai Tchere Bele’ and the John Lee Hooker chug of ‘Nick’ are sure to set dancefloors ablaze, while acoustic numbers like ‘Mali’ and ‘Petit Metier’ show a more reflective side to the band. With their blazing guitars, powerful rhythms and strong melodies, Songhoy Blues are one of the most exciting live acts around. Songhoy Blues, Spiegeltent, St Andrew Square, 0131 473 2000, 22 Jul, 7.30pm, £18. 110 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
NIKI KING Few female vocalists can afford proper respect to Duke Ellington’s timeless songs while also giving them her own spin quite like King. She’s back again with more interpretations of numbers such as ‘Solitude’, ‘Sophisticated Lady’ and ‘It Don’t Mean a Thing’. Spiegeltent, George Square, 25 Jul, 9pm, £15.
GEORGE BENSON From jazz guitar to hit pop singles and a crateload of Grammys, Benson is one of the smoothest jazzers in existence. Hard to believe that this is his Edinburgh Jazz Festival debut, but it’s one he and his followers are unlikely to forget. Festival Theatre, Nicolson Street, 26 Jul, 7.30pm, £47.50–£77.50. Q For tickets, call 0131 473 2000.
POLITICS LIST.CO.UK/FESTIVAL/POLITICS
WHO WILL WIN AMERICA?
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PHOTO © ZUMA/REX SHUTTERSTOCK
With Donald Trump having just entered the race for US president, this looks like being one campaign that should have a heap of fun and a certain kind of madness stamped all over it. The serious money is still being placed heavily on HiIlary Clinton who is seeking to create history by becoming the first woman president and the first spouse of a previous leader to take the Oval Office (yes, it would always have been hard to have one without the other, but it will still be a remarkable statistic). In this debate, pollster Jason Boxt, political strategist Robert Moran and White House correspondent Glenn Thrush will be analysing the current state of the Democrat and Republican campaigns as well as spying their crystal balls to speculate on the identity of the 45th US president. Q Who Will Win America?, Scottish Parliament, Horse Wynd, 0131 348 5200 / 0800 092 7600, 15 Aug, 11am, £6 (£4).
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POLITICS FREEDOM OF SPEECH
S S E R P X E F L E S R U YO PHOTO © IDIL SUKAN
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In the wake of recent outrages such as the Charlie Hebdo massacre in France and blogger Raif Badawi’s punishment in Saudi Arabia, freedom of speech appears to be under sustained attack across the world. Comedian and activist Bridget Christie wonders whether shutting down independent thought can ever be a good idea
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was brought up by strict Irish Roman Catholics. When I was little, I wasn’t allowed to question any aspect of my inherited religion, not even its theologically-driven dietary stipulations. I was to accept transubstantiation, the Virgin birth (that occurred WAY before the invention of in vitro fertilisation) and abstinence from meat on Fridays, all without the merest whiff of confusion or sarcasm. So I did. I accepted it because I was scared of the Devil and fire and of being damned, but mostly I believed these things because I didn’t want to lose out on my Friday-night treat of meatfree Corona Lemonade and meat-free crisps and sweets. Looking back, perhaps my parents didn’t encourage questions because there were nine of us, and there just simply wasn’t time for washing hundreds of shitted nappies AND explaining astrophysics in nine different ways. Even the logistics of Christ’s Ascension into heaven, which seemed like a scientific improbability to the fouryear-old me, was off-limits. What was the weather like? Was it cloudy and if so, did Jesus disappear really quickly and was the event somewhat of an anti-climax for his followers? Or was it a clear day, giving the disciples perfect visibility? Did they have to stand there for ages until Jesus had completely disappeared in case he looked down and saw they’d all wandered off to the market for some olives? Did they all get cricked necks? And what about that old chestnut, gravity? All these questions, and more, went unasked and unanswered. I don’t think these enquiries are blasphemous, offensive or disrespectful. I think they are perfectly reasonable questions that should be encouraged and welcomed at all times, whether from the mouths of children or from Stephen Fry’s Twitter feed. Whatever that is. As a parent myself, shutting down my children’s ideas and independent thought is like denying them air and water, and even though their constant probing of the metaphysical and scatological can be wearisome, I try to answer as many of their questions as I can, using Wikipedia and The Sun online as guides. I’m not in any way judging my parents. Whether deliberately or inadvertently, my answer-free childhood has meant that now I question everything. Being intellectually and spiritually stifled and suffocated as a child turned me into a curious adult. I’m a stand-up comedian, so I think carefully about my material and how it might be received. Jokes about the Ascension of Christ could potentially offend a Christian, but I’m only talking about Christ’s
FREEDOM OF SPEECH POLITICS
PHOTO © NURPHOTO/REX SHUTTERSTOCK
‘MY ANSWERFREE CHILDHOOD HAS MEANT I NOW QUESTION EVERYTHING’
ability to exit the Earth’s atmosphere in physical form without the proper equipment: I haven’t questioned His existence or called him a rude name. But even if I have, does this potential offence mean that I shouldn’t do it? Absolutely not. Freedom of expression and thought is our most basic human right. It’s as fundamental as our right to an education and the right to love and be loved. Many people around the world don’t have these rights. When comedians are described as being brave, risky or edgy, I immediately think of Raif Badawi, a liberal Saudi blogger. Raif was sentenced to ten years in prison and 1000 lashes for setting up a website that championed free speech in Saudi Arabia. His blog, the Saudi Free Liberals Forum, was shut down after his arrest in 2012. He’s so far received 50 of those 1000 lashes. Badawi, a father of three young children, said this: ‘states based on religious ideology . . . have nothing except the fear of God and an inability to face up to life. Look at what had happened after the European peoples succeeded in removing the clergy from public life and restricting them to their churches. They built up human beings and (promoted) enlightenment, creativity and rebellion. States which are based on religion confine their people in the circle of faith and fear.’
Badawi is brave. I have nothing to lose by talking about religion or politics or women’s rights. My life and my family’s life have not been threatened. If that ever does happen, I don’t know how I’d react, or whether I’d start talking about toasters instead. I just don’t know. I’ve been intimidated and criticised online, but I won’t be lashed or imprisoned for doing a routine mocking the inventor of female genital mutilation. Putin won’t liquefy me because I said his propensity for shirtless photo-shoots has lowered his status. Even though everything she says makes me feel sick and violent, Katie Hopkins has as much right to voice her political opinions as I have. So while I don’t believe in censorship, I do believe in using our freedoms for the greater good. If we don’t, and we squander them by spreading hate and intolerance, to encourage twats to think and behave like twats and to divide communities, it’s an insult to democracy and to the thousands of prisoners of conscience around the world.
Freedom of Speech, Scottish Parliament, Holyrood Road, 0131 348 5200 / 0800 092 7600, 15 Aug, 1.30pm, £6 (£4); Bridget Christie: A Book for Her, The Stand, York Place, 0131 558 7272, 8–31 Aug (not 17), 11am, £9 (£8). list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 113
POLITICS FESTIVAL CAFE
CAFE SOCIETY TOP 5 POLITICS
PHOTO © STEVE LINDRIDGE, WWW.IDEALIMAGES.CO.UK
SCOTLAND AND SLAVERY What was the real role of Scots in the slave trade and what was the legacy? Tom Devine gives a lecture based on his book Recovering Scotland’s Slavery Past: The Caribbean Connection followed by a panel discussion which includes author Louise Welsh (pictured), academic Sir Geoff Palmer and historian Stephen Mullen. The Oscar-winning 12 Years a Slave is shown at 7.30pm. 14 Aug, 4.30pm, £8 (£6).
MUSLIM WOMEN
PHOTO © ANDREW COWAN
Brian Donaldson pores over an excitingly diverse selection of entertainment being laid on during the Festival of Politics weekend
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very festival needs a hub, a place to congregate, consume and discuss before moving on to your next show or event. At the Festival of Politics in mid-August, the Festival Café Bar, now enjoying its third outing, is that hub. Under the café-bar’s roof on 15 August is a strong selection of music, including 18-year-old Highlands singer Cileas McMaster who performed two numbers last year as part of the Parliament Day initiative. Look out for her in 2016 as she takes part in BBC’s The Voice after wowing judge Ricky Wilson during auditions in Fort William. Edinburgh R&B band the Blueswater bring us the sound of old-school Chicago and in the unlikely event that you fail to enjoy them, don’t even bother to heckle: they were house band for the last two years at the notorious comedy bearpit, Late’n’Live. Sharp moves come from the Sikh Sanjog Dancers who offer an inimitable brand of fired-up Bollywood funk, while live literature at its finest arrives in the shape of Rally & Broad, led by the superb Rachel McCrum and Jenny Lindsay. The following day is known as Acoustic Sunday with Folksville, an afternoon of music hosted by Prairie Rose & the Wildwoods and featuring the likes of the Bowhill Players. For film fans, there’s a chance to sit back and enjoy All the President’s Men, 12 Years a Slave and Made in Dagenham on the big screen. There’s an addition to the FoP cultural vibe this year as the Festival Youth Café opens its doors on 15 August featuring a non-stop array of free events. A key element is the opportunity to sign up for free 30-minute workshops during the afternoon covering vlogging, filmmaking, cartooning and (should the stage urge take you) performance poetry. At 2pm, award-winning author Cathy MacPhail will be discussing her teen thriller Mosi’s War and reflecting on her novel Another Me being turned into a movie starring Sophie ‘Sansa Stark’ Turner. If you fancy turning your hand to recording and mixing music, the Buzz Project Bus will be parked outside the Parliament. In true TARDIS style, the vehicle contains something surprising inside: a state-of-the-art recording studio.
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Subtitled ‘Freedom, Femininity and Faith’, this talk features journalist and author Yasmin Alibhai-Brown, Smina Akhtar, director of Muslim Women’s Resource Centre Amina, and British-Iranian journalist Ramita Navai, author of Tehran: City of Lies. 15 Aug, 10.30am, £6 (£4).
PUBLIC SERVICE AND THE FUTURE OF DEMOCRACY Presiding Officer Tricia Marwick chairs this event with political philosopher Michael J Sandel, the acclaimed Harvard professor whose course on justice was turned into a 12-part TV series. 15 Aug, 4pm, £8 (£6).
WORKERS RIGHTS IN THE 21ST CENTURY With the trade union movement in seeming decline across the world, who can protect employees from the darker sides of capitalism? There’s a festival hook-up here with the movie Made in Dagenham, shown later in the day at 7pm. 16 Aug, 11am, £6 (£4).
ANTI-APARTHEID It may be over two decades since the presidency of Nelson Mandela heralded a new era for South Africa but how much has it really changed in that time? STV’s political editor Bernard Ponsonby chairs an event reflecting on British anti-apartheid activity and discussing the current state of that nation. An accompanying exhibition about the movement runs across the full weekend. 16 Aug, 3.30pm, £6 (£4). Q All events at Scottish Parliament, Horse Wynd, 0131 348 5200 / 0800 092 7600.
Friday 14 - Sunday 16 August The Scottish Parliament Media partner:
BOOK ONLINE TODAY For more information and to buy tickets visit www.festivalofpolitics.org.uk
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TATTOO LIST.CO.UK/FESTIVAL/TATTOO
ROY EDINBUARLGH MILITARY TATTOO
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BOLLYWOOD LOVE STORY TATTOO
Culture club The Tattoo and Mela are teaming up this year to give us the spectacular Bollywood Love Story. Anna Millar chats to the show’s director Sanjoy Roy about bringing a true phenomenon to an even wider audience
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ne delights with its majestic surrounds and military pomp. The other with its bodacious jamboree of world dance and music. Together, they will help bring Bollywood glamour to Edinburgh’s festival scene, courtesy of hotly tipped musical, Bollywood Love Story. The Royal Edinburgh Military Tattoo will present a nightly five-minute ‘street version’, as part of the Tattoo’s wider ‘East Meets West’ theme, before the Edinburgh Mela showcases the whole kit and caboodle for the event’s grand finale down in Leith. Bollywood Love Story director and general bon vivant Sanjoy Roy is seldom a man to hide his enthusiasm, and he’s thrilled to be leaving his musical mark on not just one, but two of Edinburgh’s iconic festivals. ‘We’re always looking for new ways to collaborate, to tell and share our stories,’ explains Roy who, as part of production powerhouse Teamwork Arts, regularly brings Indian culture to audiences around the globe. ‘So when the opportunity came up to work with both of these great festivals, we were really happy.’ No stranger to the spotlight, Bollywood Love Story has enjoyed rave reviews ever since it first hit the stage four years ago. Its subsequent tour and 150 shows, in Egypt, Japan and China to name but three, suggests just how universal its appeal is. Roy’s hopeful that an Edinburgh audience will respond just as positively. ‘It’s been very successful, and had many different lives across the globe,’ he states. ‘It’s always exciting to think about who the next audience will be in each place, and how you can work with that.’ Whether as director, producer or writer on a project, Roy doesn’t dabble in half measures. When we speak, he’s in London in his capacity as producer of the Jaipur Literature Festival, which the Southbank Centre is hosting for the second year. Finding ways to contrast and complement different worlds is what Roy does best, and it will be exactly the same scenario when he hits the capital this August. He’s always keen to push any cross-continent collaboration to its fullest, and is eager to inject some Scottish flavour into his Edinburgh festivals offering. In a rather lovely twist, Bollywood Love Story’s principal Indian cast will be joined by specially selected dancers from across Scotland. ‘Bollywood has such a colour, look and vigour, and the music is becoming more mainstream across the world so it’s good to encourage people to get involved with that. I want to make the audience smile, and to bring something that makes people happy. It’s about creating something wonderful.’ The story, Roy says, is ‘pretty straightforward. It’s a familiar tale. Boy meets girl, girl loses boy, there’s a villain in there, and then there’s a happy, joyous ending. I like to tell universal stories. It doesn’t matter where you are or what your culture is, that story is familiar. Then it becomes how you create the spectacle beyond the story.’
While Roy’s not giving too much away at this stage about how it will look, vibrant colours, fabulous costumes, show-stopping tunes, and slick choreography are all guaranteed. ‘Bollywood is often about what happens when cultures meet, and that’s what it’s about here. It’s going to be colourful, dramatic and fun, and feel and look like a celebration of what Bollywood can be.’ As part of the Tattoo line-up, Bollywood Love Story will be shown in front of a 220,000-strong live audience, around 66,000 of whom are Edinburgh’s foreign guests. The Tattoo show will additionally reach well over 100 million viewers around the world when it’s broadcast on the small screen. Then, of course, there is the Mela audience on top of that: it’s a range and reach that appeals to Roy. ‘It’s exciting and about creating something bold, yes, but also something that feels a little nostalgic. There’s so much bad stuff going on in the world, so it’s nice to create a fairytale that feels and seems very far away from the reality that people live in today. A reminder that life can also be about celebration.’ In the week I speak to Roy, auditions are soon to be underway for the Scottish contingent that will join the show. Twelve professionals will accompany more than 40 Scottish-based dancers for the performance. ‘First there are auditions and then training all the dancers. But it’s wonderful to be able to use local dancers as part of the whole spectacle. It’s all part of the collaboration and relationships we want to build.’ Beyond the training, the separate venues (the Tattoo on the Esplanade by Edinburgh Castle and the Mela in the city’s more modish area of Leith) bring their own set of challenges. ‘We’ll have the shorter street version for the Tattoo, and then the longer version for the Mela. I think we’ll bring some madness to the Tattoo. A sense of other. With the Tattoo, so many different parts of the world turn up to take in the tradition of it, but it’s also about experiencing the castle and the spectacle. We have to do our storytelling there in five or so minutes, so it’s about getting the imagery and story right in that time, complete with big bangs and bells. It’s a judgement call about what to leave in and what to take out in order to stay faithful to the story we want to present.’ Across at the Mela, festival director Chris Purnell has voiced his enthusiasm for providing a platform in which to celebrate the ‘Bollywood phenomenon’ and ‘celebrate each other’s cultures’. Roy couldn’t agree more. ‘Bollywood is incredibly popular within the Asian community, but it has a wider following as well. We hope to put on something spectacular in Edinburgh which hopefully everyone will enjoy.’
‘We’ll bring some madness to the Tattoo’
Royal Edinburgh Military Tattoo, Edinburgh Castle, 0131 225 1188, 7–29 Aug, Mon–Fri 9pm, Sat 7.30pm, £25–£120; Bollywood Love Story, Edinburgh Mela, Leith Links, 0131 226 0008, 30 Aug, £4–£5 (free for under 13s). list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 117
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FLYING HIGH
She may have been touring for over four decades, but Joan Armatrading still has her very first guitar. The singer-songwriter tells Fiona Shepherd how she instinctively knew that music was her calling
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o be clear: Joan Armatrading is not retiring. She may be in the thick of what she has earmarked as her final world tour but there are no plans to stop songwriting, recording or even playing live. It’s just that having embarked on lengthy tours following the release of each of her albums since 1972, the much-loved singer-songwriter of ‘Love and Affection’, ‘Willow’, ‘Drop the Pilot’ and ‘Me Myself I’ is quitting the touring lifestyle while she’s still ahead. ‘By the time this tour ends I’ll be 65,’ she says. ‘I don’t need to be on the road 18 months non-stop. Quite often you’ll hear people say they’ve been on the road for two years but very often it’s six weeks then two months off, y’know? I tend to just keep going, and I don’t think I want to tour like that after the age of 65. I don’t want to get to the point when I’m onstage and thinking, “why am I doing this?”’ Fortunately, she only has positive reports from this final hurrah, which began last September in the UK, before taking in Australia, New Zealand, Europe and the US, with more Scottish dates to come, including an appearance at North Berwick’s multi-arts festival, Fringe by the Sea. As well as being her last, this tour is also something of a first for Armatrading as it features just herself onstage for the first time since a debut jaunt round the US over 40 years ago. But flying entirely solo is no sweat for this quietly authoritative performer and able multi-instrumentalist. Armatrading started out playing piano as a teenager, partly because it was just sitting there unused as part of the furniture and partly because her father’s guitar was strictly off-limits. ‘It only made me very, very interested in playing the guitar,’ she says. ‘If you’re told not to do something you really want to know why, so I was very curious about the guitar.’ The story goes that young Joan spotted a £3 guitar in a pawn shop but, lacking the ready funds, her mother agreed to exchange two prams so
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OTHER FESTIVALS FRINGE BY THE SEA
that her daughter could satisfy her curiosity with a generic old six-string of her own. Armatrading still owns that first guitar. ‘It would not have been easy to play as a youngster,’ she says. ‘It was a very big-necked guitar and I had much smaller hands, so I must have been very determined to play that one as a kid.’ A Armatrading’s formative fascination with the tools of her trade is ech echoed by the experiences of other musicians. Despite similar warnings to tthose issued in the Armatrading household, Tito Jackson would sneak a pplay on his father’s precious guitar. He got a beating for his troubles an and then a life-long career playing with his brothers. Johnny Marr has als also talked about standing transfixed as a tot in front of a guitar he sp spotted in a local shop window. ‘There’s something fascinating about whatever it is that calls you,’ ag agrees Armatrading. ‘Whether it’s music or science, you have to follow it and that certainly was the case with me. Music was a calling: I was bo to do it. The writing is really why I’m here, that’s my main thing.’ born There is no bombast in her words. Armatrading is matter-of-fact, w a traditional approach to creative graft. She has now been plying with h songwriting trade for 50 years, over some 19 albums, including her her m recent release, Starlight. As an arranger, she has sounded equally most a home whether embracing folk, jazz, pop or blues, with the gentle at a ache of her soothing contralto the glue that binds her catalogue. Yet p performing her own songs was not part of the original plan. She laughs as she recalls the old-head-on-young-shoulders title of one of her earliest numbers – ‘When I Was Young’ – written in her mid-teens and still dreaming that some famous singer would choose one of her songs to make their own. ‘I was incredibly shy when I started out,’ she recalls. ‘But I so wanted people to hear my songs that I was able to put my shyness to one side so I could get the songs in front of people. I wasn’t particularly interested in singing but when people heard the songs they always said that I had to sing them. Even when I did my first record I still thought, “people will hear the songs and I can go back to being a writer”, but obviously that’s not how it worked out.’ And then, with characteristic understatement, ‘it’s fine, I’m not complaining’. Joan Armatrading, Palais des Glaces Spiegeltent, The Harbour, North Berwick, 07519 723688, 11 Aug, 7.30pm, £30.
SHORE THINGS
Comedians, conspirators and customs officers make a splash in North Berwick This year’s Fringe by the Sea provides a splendid array of music, literature and comedy down lovely North Berwick way. Wonderful sounds will be emanating from modern bluegrass act Lindsay Lou & the Flatbellys while the eclectic collective known as the Victorian Trout Conspiracy will play whatever takes their fancy. You do know what to expect from Dirty Harry given that they’re a Blondie tribute band, while local viola player Alexa Beattie has put a lot back through teaching across the world. And there are more established names cropping up in the shape of Eddi Reader and Aly Bain & Phil Cunningham. Veteran comedian Barry Cryer hooks up with his old muso buddy Ronnie Golden for some deliciously bawdy numbers, and while Alan Davies has certainly been round the stand-up comedy block, he still has some way to go before applying for the kind of legendary status afforded to Cryer. Elaine C Smith will be doing her thing and in the literary world, Edinburgh’s finest (probably only) crime-writing twins, the Mulgrays, will be chatting about their HM Revenue & Customs sleuth DJ Smith and her trained sniffer cat, Gorgonzola. Q Fringe by the Sea, various venues, North Berwick, 07519 723688, 10–16 Aug.
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Lindsay Lou & the Flatbellys
MELA / JUST OTHER FESTIVALS
DIVERSE ATTRACTIONS We pick out some choice delights at the Mela
Kiran Ahluwalia
If you go down to Leith Links this August, you’re sure for a big surprise. Not only is the Edinburgh Mela a feast of world music and dance, there is an abundance of culinary opportunities to keep you fed and happy throughout your day of culture. Over the course of a (hopefully balmy) late August weekend, there are top-class exponents of bhangra, desert blues, flamenco, acrobatics and Kathak. Among the main-stage highlights are Canada’s Ayrad, who negotiate different musical styles such as Andalusian and Berber rhymes with reggae and Latin grooves; Sukshinder Shinda, the Birmingham producer and singer-songwriter who is one of the biggest names in contemporary UK-Asian music; and awardwinning Kiran Ahluwalia who produces an intoxicating swirl of Indian rhythms, African desert blues and modern jazz. Over on the World Dance Feste stage are La Otra Orilla with a reinvented flamenco piece entitled Moi & Les Autres while BBC Young Dancer of the Year finalist Vidya Patel performs a new contemporary work based on a modern interpretation of the classic Kathak dance form. Choreographed by Alan Greig, a specially commissioned dance entitled Goddess explores the theme of female representation across world cultures and religions. Meanwhile, Roadworks is a quirky engagement between a dancer and BMX rider. Acrobatics, contemporary dance, clowning and physical theatre are all thrown into a vivid mix. Q Edinburgh Mela, Leith Links, 0131 226 0008, 29 & 30 Aug, £4–£5 (free for under 13s). See feature on Bollywood Love Story, page 116.
PLAY AWAY
BEST OF THE REST OF THE FEST
The Just Festival programme deals out some strong performances The event formerly known as the Festival of Spirituality and Peace picks up the pace this year with an intriguing programme of theatre and performance. Scarfed for Life tackles the ever-thorny subject of sectarianism in Scottish society while Xun-Seek is a dramatic Chinese physical opera which merges eastern and western ideals and tastes. Foolproof Theatre’s Help Yourself looks at empowerment through a series of tales (both real and fictional) across Africa, India and the Richard III UK while Red Card Theatre stage three hard-hitting works in their Denial Trilogy which explore various aspects of the Holocaust. World War I is the setting for Letters to Aberlour and Mad Women in My Attic promises a ‘cabaret of theatrical lunacy’. Counter Culture delves into the department store world from the perspective of its downtrodden workers, and Brite Theater’s Richard III is an
innovative one-woman play which demolishes the fourth wall and shoves at the boundaries of what a Shakespearean production can be. Q Just Festival, St John’s Church, Princes Street; Central Hall, West Tollcross, 0131 226 0000, 7–31 Aug.
At Out of the Blue Drill Hall, the plucky volunteers of Forest Fringe (17–30 Aug, forestfringe. co.uk) will be presenting the likes of performance-artist magician Vincent Gambini, London-Beirut interactive guru Tania El Khoury, feminist theatre-cabaret group Eggs Collective and the ‘blind cinema’ of Britt Hatzius. Clothes and design lovers can enjoy runway shows, exhibitions, workshops and talks (and yes, gala parties) at the Edinburgh International Fashion Festival (23–26 Jul, edinburgh internationalfashionfestival. com) while on the flip side, the Edinburgh Book Fringe (14–28 Aug, word-power.co.uk) will be launched by Mark Thomas who discusses his 100 Acts of Minor Dissent project.
list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 121
#birramoretti
CITY GUIDE WHERE TO EAT, DRINK, SHOP AND PARTY IN THE CAPITAL LIST.CO.UK/FESTIVAL/CITYGUIDE
WELCOME TO EDINBURGH Edinburgh is such a city of contrasts. From the dramatic history of the Old Town to the genteel streets of the New Town; from vast expanses of grassy parks to dark, densely packed closes off the Royal Mile; from the serene hush of the National Gallery to uproarious laughter in underground Fringe venues, there’s something to appeal to everyone here. A typical festival day might take you from a Picasso exhibition to a thought-provoking book debate to a rousing cabaret – interspersed with some top-notch coffee and memorable meals showcasing the best of Scotland’s larder. Over the next 30 pages this guide will give you all the information you need to navigate the city this festival season. We introduce each of the capital’s five main areas – the Old Town, New Town & Stockbridge, Southside, the West End and Leith & Broughton Street – with handy maps and details of the best places to shop, eat and drink in each area. At the back of the guide there’s a rundown of the city’s vibrant clubbing and LGBT scenes, while throughout are transport tips, suggestions of where to find the best coffee and cocktails, plus a few off-the-beaten-track sights and many more ideas for making the most of your time in Edinburgh.
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CITY GUIDE OLD TOWN
SHOPPING A Ha Ha Ha 99 West Bow, EH1 2JP, novelty.org, 0131 220 5252
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Armchair Books 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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Avalanche Tron Church, 122 High Street, EH1 1QS, avalancherecords.co.uk
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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 & Crowdie 263 Canongate, EH8 8BQ, cranachanandcrowdie.com, 0131 556 7194
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Demijohn 32 Victoria Street, EH1 2JW, demijohn.co.uk, 0131 225 3265
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COFFEE PIT STOP
Edinburgh Books 145â&#x20AC;&#x201C;147 West Port, EH3 9DP, edinburghbooks.net, 0131 229 4431
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Enchantment 57 Cockburn Street, EH1 1BS, 0131 225 8207
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Fabhatrix 13 Cowgatehead, EH1 1JY, fabhatrix.com, 0131 225 9222
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Focus 70 Canongate, EH8 8AA, focuspocus.co.uk, 0131 629 9196
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The Frayed Hem 45 Cockburn Street, EH1 1BS, facebook.com/TheFrayedHem, 0131 225 9831
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Fruitmarket Gallery 45 Market Street, EH1 1DF, fruitmarket.co.uk, 0131 225 2383
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Brew Lab 6â&#x20AC;&#x201C;8 South College Street, 0131 662 8963, brewlabcoffee.co.uk
Within its bare-brick, designer-demolition interior, Brew Lab does some serious caffeine calculations, putting coffee at the centre of its science, augmenting americanos and cappuccinos from its shiny Victoria Arduino coffee machine with a rotating selection of pour-over brews, as well as hot chocolate and quality tea.
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IJ Mellis 30a Victoria Street, EH1 2JW, mellischeese. co.uk, 0131 226 6215
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Mr Wood's Fossils 5 Cowgatehead, Grassmarket, mrwoodsfossils. co.uk, 0131 220 1344
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Old Town Books
9 West Port, EH1 2JA, godivaboutique.co.uk, 0131 221 9212
8 Victoria Street, EH1 2HG, oldtownbookshop.com, 0131 225 9237
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43 Candlemaker Row, EH1 2QB, hannahzakari. co.uk, 0131 226 5433
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Herman Brown 151 West Port, EH3 9DP, hermanbrown.co.uk, 0131 228 2589
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126 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
18 St Maryâ&#x20AC;&#x2122;s Street, EH1 1SU, presentboutique. co.uk, 0131 556 5050
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Ragamuffin 278 Canongate, EH8 8AA, facebook.com/ ragamuffinclothesandknitwear, 0131 557 6007
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The Record Shak 69 Clerk Street, EH8 9JG, 0131 667 7144
Joe
Godiva
Hannah Zakari
Present Boutique
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Red Dog Music 1 Grassmarket, EH1 2HY, reddogmusic.co.uk, 0131 229 8211
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Red Door Gallery 42 Victoria Street, EH1 2JW, edinburghart.com, 0131 477 3255
Owl and Lion
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66 West Port, EH1 2LD, owlandlion.com, 0131 221 0818
Royal Mile Whiskies
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379 High Street, EH1 1PW, royalmilewhiskies. com, 0131 622 6255
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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 t Lunch from 12pm and Dinner from 6pm The Scottish Hospitality Awards 2015 - Finalist for Best Fine Dining Restaurant SLTN Wine Award 2014 - Finalist Highly recommended in the Michelin Guide
267 Canongate, Royal Mile, Edinburgh, EH8 8BQ t 0131 55 88 737 www.wedgwoodtherestaurant.co.uk info@wedgwoodtherestaurant.co.uk
list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 127
CITY GUIDE OLD TOWN
In association with
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Swish 22â&#x20AC;&#x201C;24 Victoria Street, EH1 2JW, swishlife.co.uk, 0131 225 7180
GETTING AROUND
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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
A brief guide to the main methods of transport around Edinburgh
ON FOOT Being such a compact city, Edinburgh is easily navigable on foot, which is the best way to take in the winding closes and hidden surprises of the Old Town. The castle makes a helpful landmark, being visible from most places in town, so use that as your marker and you wonâ&#x20AC;&#x2122;t go far wrong.
BUS Local transport company Lothian Buses runs a pretty comprehensive bus service with a flat-fare system: ÂŁ1.50 will get you from A to B anywhere in the city, while ÂŁ4 buys you unlimited travel for the whole day (ÂŁ8.50 for a family day ticket). Airlink buses are the exception, costing ÂŁ4.50 for a single, ÂŁ7.50 for an open return. Night Buses have a flat rate of ÂŁ3, which lasts the whole night. None of the buses (except Airlink) can give you change, so youâ&#x20AC;&#x2122;ll need to have exact change on you, buy a block of City Single tickets (ÂŁ30 for 20), 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.
machines located 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 and discount deals.
CYCLING If youâ&#x20AC;&#x2122;re confident on two wheels, Edinburgh can be very rewarding to see by bike: the cycle routes are 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.
TAXI Taxis in Edinburgh are not the cheapest, but they are speedy, reliable and weatherproof. Black cabs can be hailed in the street or boarded at the cityâ&#x20AC;&#x2122;s plentiful taxi ranks, while private cabs 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: always make sure your driverâ&#x20AC;&#x2122;s ID card is visible.
RICKSHAW TRAM Lothian Buses also run the trams, so the fares are the same â&#x20AC;&#x201C; ÂŁ1.50 for a single journey, ÂŁ4 for the whole day, with extra charges for links to the airport. Tickets must be bought in advance from vending
Sure, theyâ&#x20AC;&#x2122;re pretty slow and ridiculously expensive, but sometimes only a pedal-powered rickshaw will do. However, donâ&#x20AC;&#x2122;t take a rickshaw if youâ&#x20AC;&#x2122;ve only got a few minutes to get to a show â&#x20AC;&#x201C; this isnâ&#x20AC;&#x2122;t the most efficient way to travel.
128 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
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EATING INEXPENSIVE The Baked Potato Shop VEGETARIAN 56 Cockburn Street, 0131 225 7572 | ÂŁ6.50 (lunch/dinner)
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La Barantine FRENCH PATISSERIE 89 West Bow, 0131 226 4927, facebook.com/ LaBarantine | ÂŁ8 (lunch)
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Brew Lab COFFEE SHOP 6â&#x20AC;&#x201C;8 South College Street, 0131 662 8963, brewlabcoffee.co.uk | ÂŁ8 (lunch)
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CafĂŠ at the Palace CAFE Palace of Holyroodhouse, 0131 652 3685 | ÂŁ12 (lunch)
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Colonnades CAFE Signet Library, Parliament Square, thesignetlibrary.co.uk/colonnades | ÂŁ15 (lunch) / ÂŁ25 (afternoon tea)
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Edinburgh Larder CafĂŠ CAFE 15 Blackfriars Street, 0131 556 6922, edinburghlarder.co.uk | ÂŁ7 (lunch)
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The Fruitmarket Gallery CafĂŠ ARTS VENUE Fruitmarket Gallery, 45 Market Street, 0131 226 1843, fruitmarket.co.uk | ÂŁ13 (lunch)
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OLD TOWN CITY GUIDE
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COCKTAIL HOT SPOT
Italian On The Mound CAFE / SANDWICH BAR 15 Bank Street, 0131 220 4400 | £7 (lunch)
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Kebab Mahal INDIAN 7 Nicolson Square, 0131 667 5214, kebab-mahal. co.uk | £8 (lunch) / £11 (dinner)
Blackfriars SCOTTISH BISTRO 57â&#x20AC;&#x201C;61 Blackfriars Street, 0131 558 8684, blackfriarsedinburgh.co.uk | Closed Mon/Tue. | £14.50 (set lunch) / £26 (dinner)
Dragonfly 52 West Port, 0131 228 4543, dragonflycocktailbar.com
Once in the door of this West Port cocktail bar, the muted, stylish interior oozes glamour of a bygone age. Cocktails are anything but old-fashioned though, with stylish mixes and innovative flavour combos dominating the wide-ranging drinks menu. Try Up the Apples and Pears â&#x20AC;&#x201C; a deliciously smooth drink combining vanilla vodka, pear cognac, apple juice and cinnamon syrup.
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Lovecrumbs
Oink
CAFE 155 West Port, 0131 629 0626, lovecrumbs.co.uk | £5.50 (coffee and cake)
CAFE 34 Victoria Street, 07771 968233, oinkhogroast. co.uk | £5 (lunch)
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Maryâ&#x20AC;&#x2122;s Milk Bar
ARTS VENUE Scottish Storytelling Centre, 43 High Street, 0131 556 1229, scottishstorytellingcentre.co.uk| £11 (lunch)
Union of Genius
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Ting Thai Caravan
Angels with Bagpipes
THAI 8â&#x20AC;&#x201C;9 Teviot Place, 0131 225 9801 | £10.50 (lunch) / £13.50 (dinner)
SCOTTISH 343 High Street, 0131 220 1111, angelswithbagpipes.co.uk | £14.95 (set lunch) / £25 (dinner)
CAFE 19 Grassmarket, marysmilkbar.com | Closed Mon. | £2 (scoop ice cream)
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North Bridge Brasserie BISTRO 20 North Bridge, 0131 622 2900, northbridgebrasserie.com | £15 (set lunch) / £35 (dinner)
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David Bann VEGETARIAN 56â&#x20AC;&#x201C;58 St Maryâ&#x20AC;&#x2122;s Street, 0131 556 5888, davidbann.com | £17 (lunch/dinner)
The Storytelling Cafe
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Tupiniquim CREPERIE The Green Police Box, Middle Meadow Walk, Lauriston Place, tupiniquim.co.uk | £8 (lunch)
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SOUP CAFE 8 Forrest Road, 0131 226 4436, unionofgenius. com | Closed Sat/Sun. | £6 (lunch)
MID-PRICE
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Hanamâ&#x20AC;&#x2122;s MIDDLE EASTERN 3 Johnston Terrace, 0131 225 1329, hanams.com | £9.95 (set lunch) / £17 (dinner)
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Howies BISTRO 10â&#x20AC;&#x201C;14 Victoria Street, 0131 225 1721, howies. uk.com | £9.95 (set lunch) / £20 (dinner)
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list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 129
CITY GUIDE OLD TOWN
In association with
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Monteiths BISTRO 57â&#x20AC;&#x201C;61 High Street, 0131 557 0330, monteithsrestaurant.co.uk | £15 (lunch) / £24 (dinner)
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Mother Indiaâ&#x20AC;&#x2122;s Cafe
STREET FOOD STOPS
Scoff facebook.com/Scoff.Foods
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Alplings alplings.co.uk
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Rost @rosteats
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Babu Bombay Street Kitchen
INDIAN 3â&#x20AC;&#x201C;5 Infirmary Street, 0131 524 9801, motherindiascafeedinburgh.co.uk | £15 (lunch/ dinner)
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Jones & Son facebook.com/BespokeBbq
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Ninja Buns facebook.com/ninjabuns
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Meat Hook
Mighty Mexican Food Truck facebook.com/mightymexican1
New Saffrani INDIAN 11 South College Street, 0131 667 1597, newsaffrani.co.uk | Closed Tue. | £16 (dinner)
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facebook.com/MeatHook.Streetfood
Petit Paris
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FRENCH 38â&#x20AC;&#x201C;40 Grassmarket, 0131 226 2442, petitparisrestaurant.co.uk | £12.90 (set lunch) / £20 (dinner)
babu-kitchen.com
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On the Roll ontheroll.co.uk/#mission1
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Spoon BISTRO 6a Nicolson Street, 0131 623 1752, spoonedinburgh.co.uk | £12 (lunch) / £18 (dinner)
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Victor & Carina Contini Cannonball SCOTTISH Cannonball House, 356 Castlehill, Royal Mile, 0131 225 1550, contini.com/contini-cannonball | Closed Mon. | £18 (set lunch) / £27 (dinner)
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HIGH-END Aizle SCOTTISH 107â&#x20AC;&#x201C;109 St Leonardâ&#x20AC;&#x2122;s Street, 0131 662 9349, aizle.co.uk | Closed Mon/Tue. | £45 (set dinner)
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Cucina ITALIAN G&V Royal Mile Hotel, 1 George IV Bridge, 0131 240 1666, quorvuscollection.com/gandv-hoteledinburgh | £15.95 (set lunch) / £24 (dinner)
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La Garrigue FRENCH 31 Jeffrey Street, 0131 557 3032, lagarrigue. co.uk | £14.50 (set lunch) / £28 (dinner)
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OLD TOWN CITY GUIDE
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Dragonfly 52 West Port, 0131 228 4543, dragonflycocktailbar.com
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LATE-NIGHT BITE
The Grain Store SCOTTISH 30 Victoria Street, 0131 225 7635, grainstorerestaurant.co.uk | £12.50 (set lunch) / £33 (dinner)
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Hotel du Vin Bistro SCOTTISH BISTRO 11 Bristo Place, 0131 247 4900, hotelduvin.com/ locations/edinburgh/bistro | £25 (lunch/dinner)
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Michael Neave Kitchen & Whisky Bar SCOTTISH 21 Old Fishmarket Close, 0131 226 4747, michaelneave.co.uk | Closed Sun/Mon. | £11.95 (set lunch) / £25 (dinner)
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Ondine 2 George IV Bridge, 0131 226 1888, ondinerestaurant.co.uk | Closed Sun. | £17 (set lunch) / £41 (dinner)
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Hemma 75 Holyrood Road, 0131 629 3327, bodabar.com
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OX184 184 Cowgate, 0131 226 1645, ox184.co.uk
The Holyrood 9A
This very welcome addition to the Cowgateâ&#x20AC;&#x2122;s food and drink scene is spread over two spacious levels which make a feature of concrete floors and exposed ventilation. Itâ&#x20AC;&#x2122;s the fourth outing from Edinburgh pub chain Fuller Thomson (see also Holyrood 9A, the Southern, Red Squirrel) but itâ&#x20AC;&#x2122;s a quantum leap from its previous burgers â&#x20AC;&#x2DC;nâ&#x20AC;&#x2122; beers formula. The extensive drinks list includes four ales brewed specially for OX184 by Tempest, while a lengthy list of informal meals cooked on the wood-fired grill (including half lobster and meaty pork belly ribs) is available every night until 2.30am.
9a Holyrood Road, 0131 556 5044, fullerthomson.com
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Tower Restaurant SCOTTISH National Museum of Scotland, Chambers Street, 0131 225 3003, tower-restaurant.com | £18.95 (set lunch) / £40 (dinner)
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Wedgwood the Restaurant SCOTTISH 267 Canongate, 0131 558 8737, wedgwoodtherestaurant.co.uk | £12.95 (set lunch) / £30 (dinner)
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DRINKING
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OX184 184 Cowgate, 0131 226 1645, ox184.co.uk
Bar G&V 1 George IV Bridge, 0131 220 6666, quorvuscollection.com/gandv-hotel-edinburgh
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The Bow Bar 80 West Bow, Victoria Street, 0131 226 7667
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BrewDog Edinburgh 143â&#x20AC;&#x201C;145 Cowgate, 0131 220 6517, brewdog.com
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Paradise Palms 41 Lothian Street, 0131 225 4186, theparadisepalms.co.uk
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Slighhouse 54â&#x20AC;&#x201C;55 George IV Bridge, 0131 225 6936, slighhouse.com
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east of George Street is St Andrew Square, site of pop-up exhibitions throughout the year. At the west end of George Street is Charlotte Square, closed to the public for most of the year but coming into its own in August as it hosts the A grid network of genteel streets phenomenally popular Edinburgh opens up to the north of the Old K ing' International Book Festival. s S tables R Town’s medieval buildings andoad A gentle hill descends northwards alleyways, allowing the city a bit of from Queen Street to Stockbridge, breathing space. Princes Street Ki passing through the New Town’s ng 's offers a stretch of high street St residential neighbourhoods. ab l shopping as well as the Scottish Alonges the way, there’s a clutch Ro a d National Gallery complex at of renowned art galleries and the foot of the Mound. To the independent shops to explore on north, George Street is lined Dundas Street and Howe Street. with upmarket shops, big-name Although just a short walk from the restaurants and some alfresco city centre, Stockbridge can feel Gri drinking options. It’s also home ndlay La a world apart, being quieter, less Str dy eet to the Assembly Rooms, one of La frenetic and w rather more refined. Port so West n the city's grand, historic buildings With its mix of Santique shops, tre e t , which hosts a range of Fringe independent boutiques and funky shows. North again is Queen Street, bars, it’s a sought-after place to where you’ll find the National ad Street Bre Morrison Street live but also makes for a pleasant Portrait Gallery as well as a clutch La visit on a Sunday e – particularly ur idg of Edinburgh’s best cocktail bars. is br to Stockbridge St ainwhen the fabulous re t n et At the east end of Queen Street, Foun farmers’ market isStheld re just beside t et where it morphs into York Place, Eas the namesake bridge, whether rain is the Stand comedy club, the ce or shine. Pla on independent heart of Edinburgh’s rist Lau stand-up scene. Between these three main streets is a network of cobbled lanes, including Rose e dg Street and Thistle Street, where ri nb s ai t os you’ll find una variety of traditionalllc r Br Fo To ou gh pubs, designer boutiques andWest am St elegant cocktail bars. re et The heart of the New Town is ce Panmure Pla l surrounded by openstgreen spaces. To e Princes Street Gardens are a ace haven for tourists, familiesochand rin Pl city L rrace ale Te hoffice workers on sunny days. To the Lonsd t a
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Key venues: (1) Book Festival, (2) Assembly Rooms, (3) Scottish National Gallery, (4) Portrait Gallery, (5) The Stand, ce a Pl (6) Stand in the Square, (7) New k ic dw Town Theatre an et
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NEW TOWN & STOCKBRIDGE CITY GUIDE
SHOPPING
Laurel Gallery
ALC
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61 Thistle Street, EH2 1DY, alceshop.com, 0131 226 2317
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Alchemia Studio Gallery 37 Thistle Street, EH2 1DY, alchemia.co.uk, 0131 220 4795
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58 St Stephen Street, EH3 5AL, laurelgallery. co.uk, 0131 226 5022
IJ Mellis 6 Bakers Place, EH3 6SY, mellischeese.co.uk, 0131 225 6566
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Ronde Bicycle Outfitters 66â&#x20AC;&#x201C;68 Hamilton Place, EH3 5AZ, rondebike.com, 0131 260 9888
Bliss
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5 Raeburn Place, EH4 1HU, facebook.com/ BlissBoutiqueStockbridge, 0131 332 4605
Sheila Fleet
The Bead Shop 6 Dean Park Street, EH6 1JW, beadshopscotland. co.uk, 0131 343 3222
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Chic and Unique 8 Deanhaugh Street, EH4 1LY, vintagecostumejewellery.co.uk, 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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VoxBox Music 21 St Stephen Street, EH3 5AN, voxboxmusic. co.uk, 0131 629 6775
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EATING INEXPENSIVE
18 North West Circus Place, EH3 6SX, edenretail. co.uk, 0131 225 5222
CafĂŠ Portrait
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ARTS VENUE Scottish National Portrait Gallery, 1 Queen Street, 0131 624 6421, heritageportfolio.co.uk | ÂŁ9 (lunch)
35 Dundas Street, EH3 6QQ, epitomeofedinburgh.com, 0131 556 5554
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Homer 8 Howe Street, EH3 6TD, athomer.co.uk, 0131 225 3168
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Joseph Bonnar 72 Thistle Street, EH2 1EN, josephbonnar.com, 0131 226 2811
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Fortitude Coffee 3C York Place, 0131 557 3063, fortitudecoffee.com
Thanks to its location near the bus station and tram terminus, the clientele of this popular coffee shop consists of thirsty travellers as well as local shoppers and workers. A charming display of clipboards shows off the coffee wares, from the now standard flat whites and long blacks to the new-fangled pour over â&#x20AC;&#x201C; a reinvention of the classic filter coffee, made with precision by staff with an obvious love for and knowledge of their craft.
18 St Stephen Street, EH3 5AL, sheilafleet.com, 0131 225 5939
Eden
Epitome
COFFEE PIT STOP
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Cuckooâ&#x20AC;&#x2122;s Bakery CAFE 150 Dundas Street, 0131 556 6224, cuckoosbakery.co.uk | Closed Mon. | ÂŁ9 (lunch)
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Earthy Canonmills CAFE 1â&#x20AC;&#x201C;6 Canonmills Bridge, 0131 556 9696, earthy. co.uk | ÂŁ11 (lunch) / ÂŁ20 (dinner)
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Fortitude Coffee CAFE 3C York Place, 0131 557 3063, fortitudecoffee. com | Closed Sun | ÂŁ6 (lunch)
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Hendersonâ&#x20AC;&#x2122;s Vegetarian Restaurant VEGETARIAN 94 Hanover Street, 0131 225 2131, hendersonsofedinburgh.co.uk | ÂŁ10.50 (set lunch) / ÂŁ16.50 (dinner)
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Leoâ&#x20AC;&#x2122;s Beanery CAFE 23a Howe Street, 0131 556 8403, leosbeanery. co.uk | ÂŁ9 (lunch)
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No. 33 CAFE 33 Deanhaugh Street | ÂŁ7 (lunch)
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The Pantry CAFE 1â&#x20AC;&#x201C;2 North West Circus Place, 0131 6290 206, thepantryedinburgh.co.uk | ÂŁ10 (lunch)
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Urban Angel CAFE BISTRO 121 Hanover Street, 0131 225 6215, urban-angel. co.uk | ÂŁ13 (lunch)
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The Water of Leith CafĂŠ Bistro CAFE 1 Howard Street, Canonmills, 0131 556 6887, thewaterofleithcafebistro.com | ÂŁ10 (lunch)
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list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 133
CITY GUIDE NEW TOWN & STOCKBRIDGE
In association with
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MID-PRICE The Boozy Cow NORTH AMERICAN 17 Frederick Street, 0131 226 6055, boozycow. com | ÂŁ13 (lunch/dinner)
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CafĂŠ Marlayne FRENCH 76 Thistle Street, 0131 226 2230, cafemarlayne. com | ÂŁ13.50 (lunch) / ÂŁ22.50 (dinner)
ESSENTIAL EDINBURGH
Edinburgh is a year-round destination with some world-class attractions that helps this small city punch well above its weight in terms of things to see and do. When festival fever hits it can be hard to step away from the frenetic flyering and cultural overload. But when you need a glimpse of daylight after one too many late nights, or if you just canâ&#x20AC;&#x2122;t face another student production of Macbeth, Edinburgh has plenty of blockbuster attractions that offer an alternative perspective on the capital.
Edinburgh Castle Royal Mile, EH1 2NG, edinburghcastle.gov.uk, 0131 225 9846. ÂŁ16.50 (ÂŁ13.20; child ÂŁ9.90; 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 to some exhibitions). Daily 10amâ&#x20AC;&#x201C;5pm.
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Royal Yacht Britannia Ocean Terminal, Leith, EH6 6JJ, royalyachtbritannia.co.uk, 0131 555 8800. ÂŁ14 (ÂŁ12.50; children ÂŁ8.50; under 5s free). Daily 9.30amâ&#x20AC;&#x201D;4.30pm (last admission).
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CafĂŠ St HonorĂŠ SCOTTISH 34 North West Thistle Street Lane, 0131 226 2211, cafesthonore.com | ÂŁ14.50 (set lunch) / ÂŁ28 (dinner)
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Edinburgh Zoo
Calistoga
Corstorphine Road, EH12 6TS, edinburghzoo. org.uk, 0131 334 9171. ÂŁ18 (under 16s ÂŁ13.50; under 3s free). Daily 9amâ&#x20AC;&#x201C;6pm.
NORTH AMERICAN 70 Rose Street North Lane, 0131 225 1233, calistoga.co.uk | ÂŁ12 (set lunch) / ÂŁ26 (dinner)
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Palace of Holyroodhouse
Chaophraya
Royal Mile, EH8 8DX, royalcollection.org. uk, 0131 556 5100. ÂŁ11.60 (ÂŁ10.60; child ÂŁ7; under 5s free). Daily 9.30amâ&#x20AC;&#x201D;6pm.
THAI 33 Castle Street, 0131 226 7614, chaophraya. co.uk | ÂŁ13.95 (set lunch) / ÂŁ21 (dinner)
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134 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
The Dogs BISTRO 110 Hanover Street, 0131 220 1208, thedogsonline.co.uk | ÂŁ12 (lunch) / ÂŁ21 (dinner)
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Dusit THAI 49a Thistle Street, 0131 220 6846, dusit.co.uk | ÂŁ13.95 (set lunch) / ÂŁ22 (dinner)
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El Cartel MEXICAN 64 Thistle Street, 0131 226 7171, elcartelmexicana.co.uk | ÂŁ16 (lunch/dinner)
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Fishers in the City SEAFOOD 58 Thistle Street, 0131 225 5109, fishersrestaurantgroup.co.uk | ÂŁ14 (set lunch) / ÂŁ26 (dinner)
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The Gardenerâ&#x20AC;&#x2122;s Cottage SCOTTISH 1 Royal Terrace Gardens, 0131 558 1221, thegardenerscottage.co | Closed Tue/Wed. | ÂŁ22 (lunch) / ÂŁ35 (set dinner)
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THE BEST OF THE FRINGE FEST ON FORTH
Join us this August for some cabaret, comedy and cocktails.
THE FUN STARTS AFTER SUNDOWN
Sundays 9, 16, 23 & 30 August Doors open 7.30pm Dinner from 7.30pm, show starts at 9.30pm
ENJOY THREE COURSES AND A WELCOME COCKTAIL £20 at the Forth Floor Brasserie £30 at the Forth Floor Restaurant
DINNER, COCKTAIL & SHOW – £35 To book, please call 0844 693 3008, or visit arfringe.com.
Wednesday 1 July - Monday 31 August 2015* To book, please call 0131 524 8350, or visit harveynichols.com/summerdining.
COCKTAIL & SHOW – £15 To book, please call 0131 226 0000, or book online at edfringe.com.
* Selected days only. Terms and Conditions apply.
ROSE and CROWN Live music bar and restaurant right in the heart of Edinburgh with excellent home cooked locally sourced meals including breakfast.
Newly refurbished whisky bar offering a great selection craft beers, wines and whiskies. Freshly made soups, sandwiches & bar snacks.
Music every night with local home grown talent, cocktails, fine selection of ales, wines and whiskies.
Live music every weekend, board games and a Nintendo 64 to use at your leisure or join our weekly games night every Tuesday. 133 Rose Street Edinburgh EH2 4LS 0131 2257135
OPEN: July
OPEN: July 11am till 1am
August 11am till 3am
9.30am till 1am
August 9.30am till 3am
170 Rose street Edinburgh EH2 4BA 0131 225 4039
list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 135
CITY GUIDE NEW TOWN & STOCKBRIDGE
Mussel Inn SEAFOOD 61â&#x20AC;&#x201C;65 Rose Street, 0131 225 5979, mussel-inn. com | ÂŁ7.95 (set lunch) / ÂŁ21 (dinner)
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Palm Court CAFE The Balmoral Hotel, 1 Princes Street, 0131 556 2414, roccofortehotels.com/the-balmoral-hotel | ÂŁ29/ÂŁ35 (afternoon tea)
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Purslane SCOTTISH 33a St Stephen Street, 0131 226 3500, purslanerestaurant.co.uk | Closed Mon. | ÂŁ14.95 (set lunch) / ÂŁ24.95 (dinner)
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In association with
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The Roaminâ&#x20AC;&#x2122; Nose ITALIAN CAFE 14 Eyre Place, 0131 629 3135, theroaminnose. com | ÂŁ15 (lunch/dinner)
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Rollo WINE BAR 108 Raeburn Place, 0131 332 1232 | ÂŁ17 (lunch/ dinner)
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Ruan Siam THAI 48 Howe Street, 0131 226 3675, ruanthai.co.uk | ÂŁ9.95 (set lunch) / ÂŁ20 (dinner)
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The Scottish CafĂŠ & Restaurant ART VENUE CAFE National Gallery of Scotland, The Mound, 0131 225 1550, thescottishcafeandrestaurant.com | ÂŁ12 (lunch)
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The Scran & Scallie BAR BISTRO 1 Comely Bank Road, 0131 332 6281, scranandscallie.com | ÂŁ15 (set lunch) / ÂŁ21 (dinner)
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Twenty Princes Street SCOTTISH 20 Princes Street, 0131 556 4901, twentyprincesstreet.co.uk | ÂŁ24 (lunch/dinner)
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Valvona & Crolla Ristorante ITALIAN 11 Multrees Walk, 0131 557 0088, valvonacrolla. co.uk | ÂŁ20 (lunch) / ÂŁ24 (dinner)
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Victor & Carina Contini Ristorante ITALIAN 103 George Street, 0131 225 1550, contini.com/ contini-ristorante | ÂŁ22 (lunch/dinner)
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HIGH-END The Dining Room SCOTTISH The Scotch Malt Whisky Society, 28 Queen Street, 0131 220 2044, thediningroomedinburgh. co.uk | Closed Sun. | ÂŁ35 (set lunch/dinner)
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Forth Floor Restaurant SCOTTISH Harvey Nichols, 30â&#x20AC;&#x201C;34 St Andrew Square, 0131 524 8350, harveynichols.com | ÂŁ25 (set lunch) / ÂŁ35 (dinner)
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The Honours
COCKTAIL HOT SPOT
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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
SCOTTISH BISTRO 58a North Castle Street, 0131 220 2513, thehonours.co.uk | ÂŁ22.50 (set lunch) / ÂŁ30 (dinner)
Number One SCOTTISH 1 Princes Street, 0131 557 6727, restaurantnumberone.com | ÂŁ70 (set dinner)
Panda & Sons 79 Queen Street, 0131 220 0443, pandaandsons.com
Well-hidden behind its fake barber shop facade, Panda & Sons is all about cocktails and conviviality. No matter what time you enter, it feels like itâ&#x20AC;&#x2122;s after midnight. House specials and a range of blends sourced from old publications sit side by side, including the Liquid Brunch featuring vodka, chamomile tea, fennel syrup, ginger wine and gentian de lure aperitif wine.
136 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
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JOIN US AT THE FAMOUS GROUSE HOUSE FOR WHISKY AND LIVE MUSIC. The Famous Grouse House on George Street is open from 11am until midnight between the 6th and 30th of August.
@TheFamousGrouse
TheFamousGrouseUK
#famousforareason
S S 1 5 Co l l e ct i o n
Cashmere knitwear Made in Scotland www.cameron-taylor.com Exclusively stocked at epitome. www.epitomeofedinburgh.com
list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 137
CITY GUIDE NEW TOWN & STOCKBRIDGE
In association with
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LATE-NIGHT BITE
Restaurant Mark Greenaway SCOTTISH 69 North Castle Street, 0131 226 1155, markgreenaway.com | Closed Sun/Mon. | £16.50 (set lunch) / £65.50 (set dinner)
The Lucky Liquor Co
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39A Queen Street, 0131 226 3976, luckyliquorco. com
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99 Hanover Street, 0131 225 8200, 99hanoverstreet.com
14 George Street, 0131 624 8624, thedomeedinburgh.com
With its Corinthian portico, marble interior, ten-foot-tall lily bouquets and of course that titular dome, thereâ&#x20AC;&#x2122;s no doubting this George Street stalwart is an awe-inspiring place to be. Food is served until late, and follows the gastropub route of steaks, grilled fish, lamb shanks and posh salads. And despite its opulence, it is pleasingly egalitarian in its approach to clientele, with diners of all ages welcome, and no dress code enforced.
FRENCH 3 Royal Terrace, 0845 22 21212 / 0131 523 1030, 21212restaurant.co.uk | Closed Sun/Mon. | £22 (set lunch) / £49 (set dinner)
99 Hanover Street
The Dome Grill Room
21212
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DRINKING The Bon Vivant 55 Thistle Street, EH2 1DY0131 225 3275 and 4â&#x20AC;&#x201C;6 Dean Street, 0131 315 3311, bonvivantedinburgh. co.uk
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Bramble 16a Queen Street, 0131 226 6343, bramblebar.co.uk
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The Guildford Arms 1â&#x20AC;&#x201C;5 West Register Street, 0131 556 4312, guildfordarms.com
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The Last Word Saloon 44 St Stephen Street, 0131 225 9009, lastwordsaloon.com
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Rose & Crown 170 Rose Street, 0131 226 5646, roseandcrownedinburgh.com
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Spit/Fire Bar 26b Dublin Street, 0131 556 5967, spitfirebars.com
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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 FOODIESFESTIVAL.COM O 0844 995 1111
138 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
www.Calistoga.co.uk 0131 225 1233
70 Rose St. Lane North, Edinburgh EH2 3DX
NEW TOWN & STOCKBRIDGE CITY GUIDE
STOCKBRIDGE
A quiet, genteel neighbourhood just a hop and a skip away from the city centre, Stockbridge has plenty to reward an afternoon's browse, with its weekly market and eclectic range of independent shops, delis, restaurants and bars
DICK’S EDINBURGH LTD
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
One of Edinburgh’s most unique shops, Dick’s offers a carefully selected collection of menswear, womenswear, 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 exclusive and 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 Smash, plus Protected Species and their stylish 100% waterproof coats.
THE LAST WORD SALOON
HENRI OF EDINBURGH
44 St Stephen Street, EH3 5AL, 0131 225 9009, lastwordsaloon.com
48 Raeburn Place, EH4 1HL, 0131 332 8963, henriofedinburgh.co.uk
Everything a cocktail bar should be – below street level, under the radar of passersby, with its gentle bustle muted by the room's atmospheric semi-darkness. Imaginatve cocktails are served at the bar or brought to your table by the efficient and cheerful waiting staff. The Last Word really is the last word in sophisticated drinking, devoid of any air of pretension.
Henri is a bustling venue all about a love of food. Assiette plates come loaded with a wide selection and are certainly enough for one. Soups, salads and cakes are produced daily, offering some French classics alongside more typical fare. Henri opens late on Fridays, when any bottle can be pulled from the shelf with only a £5 corkage charge.
SHEILA FLEET
RUAN SIAM
18 St Stephen Street, EH3 5AL, 0131 225 5939, sheilafleet.com
48 Howe Street, EH3 6TH, 0131 226 3675, ruanthai.co.uk
View contemporary and traditional precious jewellery from one of Scotland’s leading designer-makers, Sheila Fleet, at Sheila’s Boutique Gallery in 18 St Stephen Street. Sheila holds an OBE and an Honorary Degree from the University of Edinburgh for outstanding jewellery design.
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.
THE PANTRY
BLISS
1–2 North West Circus Place, EH3 6ST, 0131 6290 206, thepantryedinburgh. co.uk
5 Raeburn Place, EH4 1HU, 0131 331 4605, facebook.com/ blissboutiquestockbridge
If you're looking for a sun trap in the summer months, look no further than The Pantry. The friendly staff are helpful with advice and recommendations, taking you through a menu full of veggie and non-veggie delights. Their sweet treats are well worth a look, especially the lemon and raspberry cake.
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 2015 | THE LIST 139
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Much of Edinburgh’s Southside is dominated by the Meadows, a wide open green space that serves as the sports field, picnic spot and communal back garden for much of the area’s residents. New to the Meadows this year will be the Underbelly’s Circus Hub, the Fringe’s first major venue dedicated to circus. But if the big top doesn’t fill you with joy then make a beeline for Summerhall, a yearround arts venue in the old Edinburgh University veterinary school, which puts on events with an alternative edge. Just north of the Meadows is Edinburgh’s university quarter, which becomes a hub of festival activity in August. The action centres around Bristo Sqaure and George Square, where promoters Assembly, Pleasance, Gilded Balloon and Underbelly field around a dozen venues apiece (the latter identifiable by their massive upturned purple cow). West of the Meadows is Tollcross, a largely residential area that has more than its fair share of bars and restaurants, with a few worthwhile venues thrown in – notably the King’s Theatre and the famous Cameo Cinema. Take a leisurely stroll to the south and you’ll find Bruntsfield, Marchmont and Morningside, three well-heeled suburbs with an abundance of bistros, independent boutiques and delicatessens. To the east of the Meadows is Edinburgh’s student heartland, based along Clerk Street and Nicolson Street. This is a good area to look for cheap eats, but it’s also home to some of the city’s more prestigious venues, namely the Queen’s Hall and the Festival Theatre. Between Nicolson Street and Holyrood Park you’ll find the Pleasance Courtyard, a bustling Fringe hub with over a dozen venues showcasing Fringe comedy, theatre, music and kids’ shows day and night, as well as a host of bars, street food and arguably the best atmosphere to be found in festival season. It sits in the shadow of Arthur’s Seat, which is well worth a climb to shake off the cultural hangover.
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Key venues: (1) Bedlam Theatre, (2) King’s Theatre, (3) The Meadows, (4) Summerhall, (5) The Queen’s Hall, (6) Assembly @ George Square, (7) Gilded Balloon, (8) Underbelly George Square, (9) Pleasance Dome, (10) Assembly Roxy, (11) Pleasance Courtyard, (12) Underbelly’s Circus Hub -Coburg P
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CITY GUIDE SOUTHSIDE
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SOUTHSIDE CITY GUIDE
SHOPPING Armstrongs
COFFEE PIT STOP
64â&#x20AC;&#x201C;66 Clerk Street, EH8 9JB, armstrongsvintage.co.uk, 0131 667 3056
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Coco of Bruntsfield 174 Bruntsfield Place, EH10 4ER, cocochocolate. co.uk, 0131 228 4526
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Drinkmonger 11 Bruntsfield Place, EH10 4HN, drinkmonger. com, 0131 229 2205
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The Edinburgh Bookshop 219 Bruntsfield Place, EH10 4DH, edinburghbookshop.com, 0131 447 1917
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Hogâ&#x20AC;&#x2122;s Head Music 62 South Clerk Street, EH8 9PS, hogs-head. com, 0131 667 5274
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Looking Glass Books 36 Simpson Loan, Quartermile, EH3 9GG, lookingglassbooks.com, 0131 229 2902
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Ooh! Ruby Shoes 117 Bruntsfield Place, EH10 4EQ, oohrubyshoes. co.uk, 0131 229 6909
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The Nomadâ&#x20AC;&#x2122;s Tent 21â&#x20AC;&#x201C;23 St Leonardâ&#x20AC;&#x2122;s Lane, EH8 9SH, nomadstent.co.uk, 0131 662 1612
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Spektakular 11 Colinton Road, EH10 5DP, blog.spektakular. co.uk, 0131 629 0941
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Machina Espresso 2 Brougham Place, 0131 229 3495, machina-espresso.co.uk
The people behind Machina Espresso know their coffee â&#x20AC;&#x201C; whether itâ&#x20AC;&#x2122;s selecting equipment, sourcing single-origin beans from small roasters around the country, or demonstrating their barista skills. There is a certain odd calm that descends with that much caffeine at the ready â&#x20AC;&#x201C; whether itâ&#x20AC;&#x2122;s a traditional cappuccino or long black, or the melted 70% Venezuelan chocolate that rounds out the double espresso shot in the steaming mocha.
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Word Power Bookshop 43 West Nicolson Street, EH8 9DB, wordpower.co.uk, 0131 662 9112
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EATING INEXPENSIVE The Chocolate Tree CAFE 123 Bruntsfield Place, 0131 228 3144, choctree. co.uk
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Earthy Market CafĂŠ CAFE 33â&#x20AC;&#x201C;41 Ratcliffe Terrace, 0131 667 2967, earthy. uk.com | ÂŁ10 (lunch)
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Falko (Konditormeister) CAFE 185 Bruntsfield Place, 0131 656 0763, falko. co.uk | ÂŁ10 (lunch)
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The Forest CafĂŠ VEGETARIAN 141 Lauriston Place, 0131 229 4922, blog. theforest.org.uk | ÂŁ8 (lunch/dinner)
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Kalpna INDIAN 2/3 St Patrickâ&#x20AC;&#x2122;s Square, 0131 667 9890, kalpnarestaurant.com | ÂŁ8 (set lunch) / ÂŁ15 (dinner)
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Kampong Ah Lee Malaysian Delight MALAYSIAN 28 Clerk Street, 0131 662 9050, kampungali. com/sister-restaurant | Closed Tue. | ÂŁ12 (lunch/ dinner)
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Kimâ&#x20AC;&#x2122;s Korean Meals KOREAN 5 Buccleuch Street, 0131 629 7951, kimsminimeals.com | Closed Sun. | ÂŁ8 (set lunch) / ÂŁ14 (dinner)
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list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 141
CITY GUIDE SOUTHSIDE
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The Mosque Kitchen INDIAN 31-33 Nicolson Square, 0131 667 4035, mosquekitchen.com | ยฃ7 (lunch/dinner)
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Peterโ s Yard CAFE 27 Simpson Loan, Quartermile, 0131 228 5876, petersyard.com | ยฃ8 (lunch)
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Sรถderberg Pizza at the Bakery CAFE Sรถderberg Quartermile, 1 Lister Square, 0131 228 1905, soderberg.uk | ยฃ6 (lunch) / ยฃ20 (dinner)
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Toast CAFE 146 Marchmont Road, 0131 446 9873, toastedinburgh.co.uk | ยฃ6.50 (lunch) / ยฃ15 (dinner)
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In association with
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COCKTAIL HOT SPOT
MID-PRICE The Apartment Bistro BISTRO 7โ 13 Barclay Place, 0131 228 6456, apartmentrestaurant.com | ยฃ15 (set lunch) / ยฃ22 (dinner)
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Apiary BISTRO 33 Newington Road, 0131 668 4999, apiaryrestaurant.co.uk | ยฃ9.50 (set lunch) / ยฃ18 (dinner)
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Bia Bistrot BISTRO 19 Colinton Road, 0131 452 8453, biabistrot. co.uk | Closed Sun/Mon. | ยฃ9.50 (set lunch) / ยฃ16 (dinner)
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142 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
The Royal Dick Bar & Bistro Summerhall, 0131 560 1572, summerhall.co.uk/bar
With animal specimens and surgical curios in glass-fronted cabinets adorning the walls, Summerhallโ s bar has always been a feast for the eyes, but happily itโ s also a destination venue that can hold its own with the best in town. Barneyโ s beer, brewed just feet from the door, is an understandable highlight, while Summerhallโ s own Pickeringโ s gin is a mainstay of the astute cocktail menu in the likes of a Victorian Mojito or Mint Julep.
Cafรฉ Cassis FRENCH BISTRO Salisbury Hotel, Salisbury Road, 0131 667 8991, cafecassis.co.uk | ยฃ9.95 (set lunch) / ยฃ22 (dinner)
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Celadon THAI 49โ 51 Causewayside, 0131 667 1110, celadonrestaurant.co.uk | Closed Mon. | ยฃ7.99 (set lunch) / ยฃ18 (dinner)
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Field SCOTTISH 41 West Nicolson Street, 0131 667 7010, fieldrestaurant.co.uk | Closed Mon. | ยฃ11.95 (set lunch) / ยฃ21 (dinner)
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Harajuku Kitchen JAPANESE 10 Gillespie Place, 0131 281 0526, harajukukitchen. co.uk | Closed Mon. | ยฃ14 (lunch/dinner)
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Hellers Kitchen BISTRO 15 Salisbury Place, 0131 667 4654, hellerskitchen. co.uk | ยฃ13 (lunch) / ยฃ17 (dinner)
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OFFICIAL GIN OF
Make Pickeringâ&#x20AC;&#x2122;s Gin your pick of the festival. Throughout August youâ&#x20AC;&#x2122;ll ďŹ nd us at our Courtyard Cocktail Bar, Summerhall, where weâ&#x20AC;&#x2122;ll be serving gin and cocktails on tap. Open daily, midday till late.
CITY GUIDE SOUTHSIDE
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Indaba GLOBAL 3 Lochrin Terrace, 0131 221 1554, edindaba.co.uk | Closed Sun. | ÂŁ14 (dinner)
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My Big Fat Greek Kitchen GREEK 6 Brougham Street, 0131 228 1030, mybigfatgreekkitchen.co.uk | Closed Mon. | ÂŁ19 (dinner)
In association with
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Nanyang Malaysian Cuisine MALAYSIAN Unit 1, 3â&#x20AC;&#x201C;5 Lister Square, South Pavilion, Quartermile, 0131 629 1797, nanyangrestaurant. com | ÂŁ9.95 (set lunch) / ÂŁ20 (dinner)
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LATE-NIGHT BITE
Kampong Ah Lee Malaysian Delight 28 Clerk Street, 0131 662 9050, kampungali.com/sister-restaurant
Malaysia is a melting pot of Indian, Chinese and Malay dishes, and Kampong Ah Lee serves up the likes of flaky roti cenai and dark, tender beef rendang until 11pm seven days a week during the festival. Thereâ&#x20AC;&#x2122;s no dumbing down for western palates; instead the menu offers hot satay beef, authentically made from peanuts, not peanut butter, to the owner-chef Mr Leeâ&#x20AC;&#x2122;s family recipe.
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Nonnaâ&#x20AC;&#x2122;s Kitchen ITALIAN 45 Morningside Road, 0131 466 6767, nonnaskitchen.co.uk | Closed Mon. | ÂŁ14.50 (lunch) / ÂŁ20 (dinner)
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Passorn THAI 23â&#x20AC;&#x201C;23A Brougham Place, 0131 229 1537, passornthai.com | Closed Sun. | ÂŁ12.75 Sat (set lunch) / ÂŁ24 (dinner)
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144 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
Salt CafĂŠ BISTRO 54â&#x20AC;&#x201C;56 Morningside Road, 0131 281 1885 | ÂŁ12 (lunch) / ÂŁ20 (dinner)
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Sylvesters BISTRO 55â&#x20AC;&#x201C;57 West Nicolson Street, 0131 662 4493, sylvestersedinburgh.co.uk | Closed Sun. | ÂŁ12.95 (set lunch) / ÂŁ19 (dinner)
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Three Birds Restaurant BISTRO 3â&#x20AC;&#x201C;5 Viewforth, Bruntsfield, 0131 229 3252, threebirds.co.uk | ÂŁ9.50 (set lunch) / ÂŁ19 (dinner)
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SOUTHSIDE CITY GUIDE
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Tuk Tuk INDIAN 1 Leven Street 0131 228 3322, tuktukonline.com | £12 (lunch) / £18 (dinner)
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HIGH-END Rhubarb Prestonfield House, Priestfield Road, 0131 662 2211, prestonfield.com | £20 (set lunch) / £40 (dinner)
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DRINKING
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Greenmantle 133 Nicolson Street, 0131 662 8741, greenmantlepub.co.uk
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The Potting Shed 32 Potterow, 0131 662 9788, thepottingshededinburgh.com
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The Royal Dick Bar & Bistro
Edinburgh in festival season is a fun and inspiring thing to witness, but thereâ&#x20AC;&#x2122;s no denying that the cost can soon mount up, once all those entry fees, show tickets and sustenance are taken into account. Happily, this beautiful city also does a good line in free stuff. Hereâ&#x20AC;&#x2122;s a round-up of some places to while away an hour or two for the princely sum of nought
Arthur's Seat
The Water of Leith
Holyrood Park. Free
Visitor Centre, 24 Lanark Road, 0131 455 7367, waterofleith.org.uk. Free.
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1 Summerhall, 0131 560 1572, summerhall. co.uk/bar
Museum of Scotland Roof Terrace
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Museum of Scotland, Chambers Street, EH1 1JF, nms.ac.uk, 0300 123 6789. Free (entrance fee applies to some exhibitions). Daily 10amâ&#x20AC;&#x201C;5pm.
The Ventoux
The Blackbird
2 Brougham Street, 0131 229 5066
37â&#x20AC;&#x201C;39 Leven Street, 0131 228 2280, theblackbirdedinburgh.co.uk
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EDINBURGH FOR FREE
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Royal Botanic Garden Arboretum Place, EH3 5LR, rbge.org.uk, 0131 248 2909. Free (entrance fee applies to glasshouses). Daily 10amâ&#x20AC;&#x201C;6pm.
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Scotsman Steps
Calton Hill
North Bridge / Market Street, fruitmarket. co.uk/exhibitions/scotsman-steps. Free.
Enter via Waterloo Place or Royal Terrace, EH7 5AB. Free (entrance fee applies to the City Observatory).
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list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 145
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146 THE LIST | Edinburgh Festival Guide 2015 | 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, in close proximity, 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. Recent years have seen a decent bar and restaurant culture springing up to serve theatre-goers the length of Lothian Road, the West End’s main thoroughfare. At the north end of Lothian Road, where it intersects with Princes Street, you’ll find the West End Village, a network of quiet, pleasant streets that are home to a collection of independent shops and cafes on the artier end of the spectrum. The small-town vibe continues in Dean Village, a pretty spot just a short walk downhill from the city centre, and an ideal area for a sunny afternoon stroll. It’s conveniently en route, via the Water of Leith, to the Scottish National Galleries of Modern Art, which host their own impressive collections in addition to visiting exhibitions as part of the Edinburgh Art Festival. Much of the West End is taken up with Edinburgh’s financial district, and there’s the rejuvenated area surrounding Haymarket Station and Dalry Road, with its eclectic collection of quality restaurants. Further out of town, but easily accessed by bus, you come to Murrayfield Stadium, home to Scotland’s rugby team and occasional host to large-scale music concerts. Further west, Edinburgh Zoo is a must-see attraction for many visitors, housing 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. Kin g's
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Key venues: (1) Edinburgh International Book Festival, (2) Ghillie Dhu, (3) Royal Lyceum, Traverse Theatre, Usher Hall, (4) Scottish National Galleries of Modern Art
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WEST END CITY GUIDE
SHOPPING Arkangel & Felon 4 William Street, EH3 7NH, arkangelandfelon. com, 0131 226 4466
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Odyssey Boutique 39â&#x20AC;&#x201C;41 William Street, EH3 7LW, odysseyboutique.co.uk, 0131 220 2908
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Burger NORTH AMERICAN 94a Fountainbridge, 0131 228 5367 and 91â&#x20AC;&#x201C;93 Shandwick Place, 0131 228 1429, burgeruk.co.uk | ÂŁ9 (lunch/dinner)
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Pippin
CafĂŠ Modern One
30 Haymarket Terrace, EH12 5JZ, pippingifts. com, 0131 347 8657
ARTS VENUE Scottish National Gallery of Modern Art One, 75 Belford Road, 0131 332 8600, heritageportfolio. co.uk | ÂŁ8 (lunch)
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Paper Tiger 6a/8 Stafford Street, EH3 7AU, 0131 226 2390 53 Lothian Road, EH1 2DJ, 0131 228 2790 papertiger.co.uk
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Sam Brown 5 William Street, EH3 7NG, sambrownboutique. co.uk, 0131 226 7732
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Studio One 10 Stafford Street, EH3 7AU, studio-one.co.uk, 0131 226 5812
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EATING INEXPENSIVE Affogato ICE-CREAM CAFE 36 Queensferry Street, 0131 225 1444, affogatogelato.co.uk | Closed Mon
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COFFEE PIT STOP
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Milk 232 Morrison Street, 0131 629 6022, cafemilk.co.uk
This compact Morrison Street cafĂŠ is home to a handful of narrow recycled tables and timber benches set within a fairly modest backdrop of subway tiles and white painted walls, with attentive staff and chilled-out tunes generating a welcoming vibe. Near neighbour the Better Beverage Company supplies some silky-smooth Cuban coffee to accompany the home-baked Guinness and ginger cake.
The Caffeine Drip CAFE 10 Melville Place, 0131 538 9579, thecaffeinedrip. com | ÂŁ8.50 (lunch)
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CafĂŠ Modern Two
The Caley Sample Room
ARTS VENUE Scottish National Gallery of Modern Art Two, 73 Belford Road, 0131 624 6273, heritageportfolio. co.uk | ÂŁ13.50 (set lunch)
PUB 42â&#x20AC;&#x201C;58 Angle Park Terrace, 0131 337 7204, thecaleysampleroom.co.uk | ÂŁ11 (lunch) / ÂŁ17 (dinner)
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Filmhouse CafĂŠ Bar ARTS VENUE 88 Lothian Road, 0131 229 5932, filmhousecinema.com | ÂŁ7.50 (lunch) / ÂŁ11.50 (dinner)
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Hendersonâ&#x20AC;&#x2122;s @ St Johnâ&#x20AC;&#x2122;s VEGETARIAN St Johnâ&#x20AC;&#x2122;s Terrace, 3 Lothian Road, 0131 229 0212, hendersonsofedinburgh.co.uk/st-johns.php | ÂŁ11.50 (lunch)
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list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 147
CITY GUIDE WEST END
In association with
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COCKTAIL HOT SPOT
MID-PRICE A Room in the West End SCOTTISH BISTRO 26 William Street, 0131 226 1036, aroomin.co.uk | ÂŁ14 (lunch) / ÂŁ22 (dinner)
52 Canoes 13 Melville Place, 0131 226 4732
This kitsch and quirky basement bar in Edinburghâ&#x20AC;&#x2122;s West End is like a secret den, where the fun, cosy vibe gives an instant feeling of belonging, and the wacky decor makes you smile. Pina coladas are fresh, nutty and zesty, while a Miehana packs a fruity, tropical punch. If youâ&#x20AC;&#x2122;re not a rum lover, donâ&#x20AC;&#x2122;t despair, as their Den Originals feature a variety of spirits, a highlight being the sophisticated and refreshing gin-based Bengal Fizz.
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Kampung Ali Malaysian Delight MALAYSIAN 97â&#x20AC;&#x201C;101 Fountainbridge, 0131 228 5069, kampungali.com | Closed Tue. | ÂŁ7.80 (set lunch) / ÂŁ12 (dinner)
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Loudonâ&#x20AC;&#x2122;s CafĂŠ & Bakery CAFE Lochrin Square, 94b Fountainbridge, 0131 228 9774, loudons-cafe.co.uk | ÂŁ11 (lunch)
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Milk CAFE 232 Morrison Street, 0131 629 6022, cafemilk. co.uk | ÂŁ7 (lunch)
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Pâtisserie Maxime FRENCH PATISSERIE 6 Queensferry Street, 0131 225 6066, patisseriemaxime.co.uk | £9 (lunch/dinner)
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Pinto Mexican Kitchen MEXICAN 6 Shandwick Place, 0131 226 4289 and 119 Lothian Road, 0131 228 8269, pintomexican.com | ÂŁ6 (lunch/dinner)
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Traverse Bar CafĂŠ ARTS VENUE 10 Cambridge Street, 0131 228 5383, traverse. co.uk | Closed Sun. | ÂŁ13 (lunch/dinner)
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148 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
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The Atelier SCOTTISH 159â&#x20AC;&#x201C;161 Morrison Street, 0131 629 1344, theatelierrestaurant.co.uk | ÂŁ15.90 (set lunch) / ÂŁ24 (dinner)
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La Bruschetta ITALIAN 13 Clifton Terrace, Haymarket, 0131 467 7464, labruschetta.co.uk | Closed Sun/Mon. | ÂŁ14.95 (set lunch) / ÂŁ22 (dinner)
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China Town CHINESE 3 Atholl Place, 0131 228 3333, chinatownedinburgh.com | Closed Tue. | ÂŁ9.30 (set lunch) / ÂŁ17 (dinner)
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Chop Chop CHINESE 248 Morrison Street, 0131 221 1155, chop-chop. co.uk | ÂŁ7.50 (set lunch) / ÂŁ20 (dinner)
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Edinburgh Larder Bistro SCOTTISH BISTRO 1a Alva Street, 0131 225 4599, edinburghlarder. co.uk | Closed Sun/Mon. | ÂŁ13 (set lunch) / ÂŁ24 (dinner)
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Lâ&#x20AC;&#x2122;Escargot Blanc FRENCH 17 Queensferry Street, 0131 226 1890, lescargotblanc.co.uk | Closed Sun. | ÂŁ11.90 (set lunch) / ÂŁ24 (dinner)
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First Coast SCOTTISH BISTRO 97â&#x20AC;&#x201C;101 Dalry Road, 0131 313 4404, first-coast.co.uk | Closed Sun. | ÂŁ12.50 (set lunch) / ÂŁ16.95 (dinner)
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Galvin Brasserie de Luxe BISTRO Caledonian Hotel, Princes Street, 0131 222 8988, galvinbrasseriedeluxe.com | ÂŁ16.50 (set lunch) / ÂŁ26 (dinner)
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WEST END CITY GUIDE
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Ignite INDIAN 272â&#x20AC;&#x201C;274 Morrison Street, 0131 228 5666, igniterestaurant.co.uk | £8.50 (set lunch) / £18 (dinner)
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Kanpai JAPANESE 8â&#x20AC;&#x201C;10 Grindlay Street, 0131 228 1602, kanpaisushi. co.uk | £23 (lunch/dinner)
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Kasturi INDIAN 35--37 Shandwickk Place, 0131 228 2441,, kasturied.co.uk | £7.95 (set lunch) / £14 (dinner)
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Locanda de Gusti ITALIAN 102 Dalry Road, 0131 346 8800, locandadegusti. com | Closed Sun. | £13 (lunch) / £22 (dinner)
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Tugas Amor PORTUGUESE 161 Dundee Street, 0131 228 8804, tugasamor.co.uk| Closed Mon. | £20 (lunch/ dinner)
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LATE-NIGHT BITE
La Pâ&#x20AC;&#x2122;tite Folie FRENCH Tudor House, 9 Randolph Place, 0131 225 8678, laptitefolie.co.uk | Closed Sun. | £11.50 (set lunch) / £24 (dinner)
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Shebeen SOUTH AFRICAN 8 Morrison Street, 0131 629 0261 and 103 Dalry Road, 0131 629 3030, shebeenbar.co.uk | £25 (lunch/dinner)
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Sushiya JAPANESE 19 Dalry Road, 0131 313 3222, sushiya.co.uk | Closed Mon. | £14 (lunch) / £20 (dinner)
Pinto Mexican Kitchen 6 Shandwick Place 0131 226 4289 / 119 Lothian Road, 0131 228 8269, pintomexican.com
Pinto serves up the holy trinity of burritos, tacos and quesadillas all day and late into evening â&#x20AC;&#x201C; until midnight at weekends. Prepared at the counter, the tortilla wraps are packed with your choice of chicken, steak, pulled pork or a tasty, super-spiced chilli (including a veggie version), embellished with salsa, beans, sour cream and cheese as you wish. The bright interior is fun but doesnâ&#x20AC;&#x2122;t encourage lingering, making this a great spot for a quick bite before or after a show at one of the many nearby arts venues.
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A Culinary Experience to Remember www.kasturi-ed.co.uk
35-37
,
,
24
0131 228 2441
list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 149
In association with
Where everyday meets extraordinary From our stunning historical setting, to our quality fare, the Colonnades experience is simply beyond compare.
11am â&#x20AC;&#x201C; late 3 â&#x20AC;&#x201C; 31 August 2015
HIGH-END Castle Terrace SCOTTISH 33â&#x20AC;&#x201C;35 Castle Terrace, 0131 229 1222, castleterracerestaurant.com | Closed Sun/Mon. | £28.50 (set lunch) / £45 (dinner)
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The Pompadour by Galvin FRENCH Caledonian Hotel, Princes Street, 0131 222 8777, thepompadourbygalvin.com | Closed Sun/Mon. | £46 (dinner)
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Timberyard SCOTTISH 10 Lady Lawson Street, 0131 221 1222, timberyard.co | Closed Sun/Mon. | £34 (set lunch) / £50 (dinner)
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150 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
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CITY GUIDE LEITH & BROUGHTON STREET
In association with
SHOPPING Bra Bohag
COFFEE PIT STOP
150 Easter Road, EH7 5RL, brabohag.com, 07808 808033
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CafĂŠ Piccante TAKEAWAY 19 Broughton Street, 0131 478 7884, cafepiccante.com
The Catâ&#x20AC;&#x2122;s Miaou 36 Elm Row, EH7 4AH, thecatsmiaou.co.uk, 0131 557 1277
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Concrete Wardrobe
CafĂŠ Renroc
50a Broughton Street, EH1 3SA, concretewardrobe.com, 0131 558 7130
CAFE 91 Montgomery Street, 0131 629 3727, caferenroc.co.uk | ÂŁ8 (lunch)
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Artisan Roast
Crombies of Edinburgh
57 Broughton Street, 07590 590667, artisanroast.co.uk
97 Broughton Street, EH1 3RZ, sausages.co.uk, 0131 556 7643
The front-runners of Edinburghâ&#x20AC;&#x2122;s coffee drinking renaissance are still going strong, and now have three venues of their own as well as supplying beans to cafes across town. Artisan Roastâ&#x20AC;&#x2122;s baristas pride themselves on knowing each coffeeâ&#x20AC;&#x2122;s taste, aroma and crema artwork, and success has indeed come to Artisan with many awards. Happily, the befuddled customer can still enjoy a pretty good cup of coffee and a chat amid the earthy hessian sacks, even if you donâ&#x20AC;&#x2122;t take it all as seriously as they do.
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Curiouser & Curiouser
Moleta Munro
93 Broughton Street, EH1 3RZ, curiouserandcuriouser.com, 0131 556 1866
43 London Street, EH3 6LX, moletamunro.com, 0131 557 4800
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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
Narcissus Flowers 87 Broughton Street, 0131 478 7447, narcissusflowers.co.uk
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Real Foods 37 Broughton Street, EH1 3JU, realfoods.co.uk, 0131 557 1911
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Valvona & Crolla 19 Elm Row, EH7 4AA, valvonacrolla.co.uk, 0131 556 6066
Joey D
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54 Broughton Street, EH1 3SA, joey-d.co.uk, 0131 557 6672
Vinyl Villains
55 Bernard Street, EH6 6SL, get2flux.co.uk, 0131 554 4075
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5 Elm Row, EH7 4AA, vinylvillains.co.uk, 0131 558 1170
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152 THE LIST | Edinburgh Festival Guide 2015 2013 | list.co.uk/festival
EATING INEXPENSIVE Broughton Delicatessen CAFE 7 Barony Street, 0131 558 7111, broughton-deli. co.uk | ÂŁ10 (lunch/dinner)
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Burger Meats Bun NORTH AMERICAN 1 Forth Street, 0131 556 7023, burger-meats-bun. co.uk | Closed Mon. | ÂŁ12 (lunch/dinner)
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CafĂŠ Nom de Plume CAFE 60 Broughton Street, 0131 478 1372 | ÂŁ11 (lunch/ dinner)
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Credo BISTRO 46 Queen Charlotte Street, 0131 629 1411, credorestaurant.co.uk | ÂŁ15 (lunch/dinner)
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The Drill Hall CafĂŠ ARTS VENUE 34 Dalmeny Street, 0131 555 7100, outoftheblue. org.uk | Closed Sun. | ÂŁ8 (lunch)
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Los Cardos MEXICAN 281 Leith Walk, 0131 555 6619, loscardos.co.uk | ÂŁ6.50 (lunch/dinner)
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The Manna House CAFE 22â&#x20AC;&#x201C;24 Easter Road 0131 652 2349, themannahousebakery.co.uk | ÂŁ8 (lunch)
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LEITH & BROUGHTON STREET CITY GUIDE
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Mimiâ&#x20AC;&#x2122;s Bakehouse
MID-PRICE
CAFE 63 The Shore, 0131 555 5908, mimisbakehouse. com | ÂŁ12 (lunch)
A Room in Leith
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SCOTTISH 1a Dock Place, 0131 554 7427, aroomin.co.uk | ÂŁ13 (set lunch) / ÂŁ23 (dinner)
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Origano
Anfora
ITALIAN 277 Leith Walk, 0131 554 6539, origano-leith. co.uk | ÂŁ15 (lunch/dinner)
WINE BAR 87a Giles Street, 0131 553 6914, anforawinebar. co.uk | ÂŁ12.50 (set lunch) / ÂŁ23 (dinner)
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The Basement Bar and Restaurant MEXICAN 10â&#x20AC;&#x201C;12a Broughton Street, 0131 557 0097, basement-bar-edinburgh.co.uk | ÂŁ15 (lunch/dinner)
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Bijou BISTRO 2 Restalrig Road, 0131 538 0664, bijoubistro. co.uk | ÂŁ13 (lunch) / ÂŁ21 (dinner)
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Bistro Provence FRENCH 88 Commercial Street, 0131 344 4295, bistroprovence.co.uk | Closed Mon. | ÂŁ12.95 (set lunch) / ÂŁ21.50 (set dinner)
Punjabi Junction INDIAN 122â&#x20AC;&#x201C;124 Leith Walk, 07865 895022, punjabijunction.org | Closed Sun. | ÂŁ5 (set lunch) / ÂŁ11 (dinner)
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Bodega MEXICAN 62 Elm Row, Leith Walk, 0131 556 7930, ilovebodega.com | Closed Mon/Tue. | ÂŁ16 (dinner)
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Bonsai Bar Bistro JAPANESE 14 Broughton Street, 0131 557 5093, bonsaibarbistro.co.uk | ÂŁ4.90 (set lunch) / ÂŁ13 (dinner)
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C-Shack FISH 3 Pier Place, Newhaven, 0131 467 8628, cshack. co.uk | Closed Mon. | ÂŁ18 (lunch) / ÂŁ25 (dinner)
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Stack Dim Sum Bar CHINESE 42 Dalmeny Street, 0131 553 7330 | Closed Wed. | ÂŁ13.50 (lunch) / ÂŁ15 (dinner)
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COCKTAIL HOT SPOT
Pera: Turkish Mangal & Meze Bar
21â&#x20AC;&#x201C;25 Duke Street, 0131 629 0580
TURKISH 57 Elm Row, 07756 122730, turkishrestaurantedinburgh.co.uk | Closed Mon | ÂŁ7 (lunch) / ÂŁ13 (dinner)
The Lioness has successfully turned this old boozer into a happening cocktail bar, with a steady build-up of word of mouth turning it into something of a destination venue. The decoration is a cute mix of shabby mix-and-match furniture, glitzy chandelier and 1969 pinball machine and, importantly, the cocktails are delicious. Try a Sherbet Lemon Martini, perhaps, or a fancy hot toddy (depending on the outside temperature).
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CafĂŠ Domenico ITALIAN 30 Sandport Street, 0131 467 7266, cafedomenico.co.uk | Closed Sun. | ÂŁ9.50 (lunch) / ÂŁ16 (dinner)
The Lioness of Leith
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list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 153
CITY GUIDE LEITH & BROUGHTON STREET
In association with
BROUGHTON STREET
Packed with funky restaurants, independent boutiques, cafes and traditional Edinburgh pubs, Broughton Street may be small but it's well worth spending a few hours here for a break from the festival hordes
L'ESCARGOT BLEU 56 Broughton Street, EH1 3SA, 0131 557 1600, lescargotbleu.co.uk Dynamic couple Frederic Berkmiller and Betty Jourjon are the patrons and creative force behind L’Escargot Bleu (and sister L’Escargot Blanc). Their particular take on the classic French bistro fizzes with quirky Gallic charm. A handsome dining room with vintage posters and big windows provides a suitable backdrop to bold cooking served up joyfully by mostly native French staff.
THE BASEMENT BAR & RESTAURANT 10–12a Broughton Street, EH1 3RH, 0131 557 0097, basement-baredinburgh.co.uk The Basement offers a menu of Mexican dishes that challenges as well as comforts. Ceviche, empanadas, tostadas and fish tacos sit alongside a dish of guacamole worthy of its own Fringe show. The lively central bar is home to possibly the biggest range of tequila and mezcal to be found in the city.
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.
NARCISSUS FLOWERS
THE OUTHOUSE
87 Broughton Street, EH1 3RJ, 0131 478 7447, narcissusflowers.co.uk
12a Broughton Street Lane, EH1 3LY, 0131 557 6668, outhouse-edinburgh. co.uk
Standing proudly on the corner of Broughton Street and Broughton Place, Narcissus is one of the oldest residents on the street. Unmissable with their classic Edinburgh bay window showcasing a marvellous array of fresh blooms and botanical gems, Narcissus has long been the go to Florist and a moment of nature and calm within the busy city centre.
The Outhouse is a bar/venue for anyone looking for a thoughtful selection of products, good music, local artwork, a world class Fringe line-up, plus a sizeable beer garden. Hidden down a lane, if you feel like you have taken a wrong turn – you are in the right place.
REAL FOODS
CURIOUSER & CURIOUSER
37 Broughton St, EH1 3JU, 0131 557 1911, realfoods.co.uk
93 Broughton Street, EH1 3RZ, 0131 556 1866, curiouserandcuriouser.com
Real Foods has all the vegan, vegetarian, free-from, Fairtrade and organic food and drink you need to see you through this year’s festival fun. Edinburgh’s original health and whole food shop is celebrating the 40th anniversary of their second Edinburgh shop in Edinburgh which began life back in 1975 – today they stock over 10,000 products and ship worldwide.
154 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
This beautiful shop run by friendly people sells 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
Lâ&#x20AC;&#x2122;Escargot Bleu FRENCH 56 Broughton Street, 0131 557 1600, lescargotbleu.co.uk | Closed Sun. | ÂŁ12.90 (set lunch) / ÂŁ24 (dinner)
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La Favorita ITALIAN PIZZERIA 321 Leith Walk, 0131 554 2430, vittoriagroup. co.uk | ÂŁ10 (set lunch) / ÂŁ19 (dinner))
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Fishers in Leith FISH 1 The Shore, 0131 554 5666, fishersbistros.co.uk | ÂŁ14 (set lunch) / ÂŁ21 (dinner)
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Khushiâ&#x20AC;&#x2122;s INDIAN 10 Antigua Street, 0131 558 1947, khushis.com | ÂŁ5.95 (set lunch) / ÂŁ16 (dinner)
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Nobles CafĂŠ, Bar & Restaurant
Serrano Manchego
BAR BISTRO 44a Constitution Street, Leith, 0131 629 7215, noblesbarleith.co.uk | ÂŁ15 (lunch/dinner)
SPANISH 297 Leith Walk, 0131 554 0955 | ÂŁ11 (lunch) / ÂŁ20 (dinner)
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Pomegranate
Steak
MIDDLE-EASTERN 1 Antigua Street, 0131 556 8337, pomegranatesrestaurant.com | ÂŁ7.50 (set lunch) / ÂŁ21 (dinner)
NORTH AMERICAN 14 Picardy Place, 0131 556 1289, steakedinburgh. com | ÂŁ35 (lunch) / ÂŁ35 (dinner)
HIGH-END
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SCOTTISH 78 Commercial Quay, 0131 555 1755, thekitchin. com | Closed Sun/Mon. | ÂŁ28.50 (set lunch) / ÂŁ50 (dinner)
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Porto & Fi CAFE 47 Newhaven Main Street, 0131 551 1900, portofi. com | ÂŁ16 (lunch/dinner)
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Tapa SPANISH 19 Shore Place, 0131 476 6776, tapaedinburgh. co.uk | ÂŁ10 (set lunch) / ÂŁ16 (dinner)
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Valvona & Crolla Caffè Bar ITALIAN CAFE 19 Elm Row, Leith Walk, 0131 556 6066, valvonacrolla.co.uk | £20 (lunch)
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The Kitchin
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Restaurant Martin Wishart FRENCH 54 The Shore, Leith, 0131 553 3557, restaurantmartinwishart.co.uk | Closed Sun/ Mon. | ÂŁ28.50 (set lunch) / ÂŁ70 (set dinner)
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The Riparian Rooms BISTRO 7â&#x20AC;&#x201C;11 East London Street, 0131 556 6102, theriparianrooms.co.uk | ÂŁ18 (lunch/dinner)
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Mintleaf
Rivage
INDIAN / THAI 28 Bernard Street, 0131 555 5552, mintleafrestaurant.co.uk | ÂŁ18 (dinner)
INDIAN 126â&#x20AC;&#x201C;130 Easter Road, 0131 661 6888 | ÂŁ8.95 (set lunch) / ÂŁ16 (dinner)
Pomegranate
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Pomegranate provides an oasis of Middle Eastern colour and charm a stoneâ&#x20AC;&#x2122;s throw away from the bars and crowds at the top of Leith Walk / Broughton Street. Thereâ&#x20AC;&#x2122;s an abundance of mezze dishes for sharing, but kebabs and shawarma take centre stage, the meat tender yet crisp from the charcoal grill. They serve until 11pm as standard (midnight at the weekend) and thereâ&#x20AC;&#x2122;s an outdoor basement area where shisha aficionados gather to enjoy the scents and sounds of the Middle East.
LATE-NIGHT BITE
1 Antigua Street, 0131 556 8337, pomegranatesrestaurant.com
list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 155
CITY GUIDE LEITH & BROUGHTON STREET
In association with
LEITH
The vibrant waterside area of Leith is popular with locals and visitors throughout the year, with a host of destination fine-dining restaurants, atmospheric pubs and quirky bars and boutiques to explore
FLUX 55 Bernard Street, EH6 6SL, 0131 554 4075, get2flux.co.uk Flux: a constant state of change. Set amid the vibrant Shore area, Leith’s favourite boutique shop will enchant and delight afresh every visit. Eighteen years of ethical, unusual, local and wonderful gifts for every age 0–infinite! Check out our new store in Dunbar, too.
NOBLES BAR, CAFE & RESTAURANT 44a Constitution St, EH6 6RS, 0131 629 7215, noblesbarleith.co.uk In an area synonymous with quality food, Nobles brings something new to the table, using fresh local produce in their creative menu. There's an inspired wine list and a row of beer taps showcasing the best of local brewing. This is a grand old Victorian pub full of character and charm.
TWELVE TRIANGLES
LOS CARDOS
90 Brunswick Street, 0131 629 0626, facebook.com/twelvetriangles
281 Leith Walk, EH6 8PD, 0131 555 6619, loscardos.co.uk
Housed in a former antiques shop, this little sister to West Port's wonderful Lovvecrumbs cafe is a tiny outlet just off the main drag of Leith Walk. Serving up tiptop coffee and tea, with a menu strong on freshly baked cakes - primarily donuts, with fillings ranging from traditional raspberry jam to the more adventurous maple pecan custard or peanut butter chocolate.
Award winning Los Cardos takeaway is Mexican inspired street food that is fast, fresh, healthy and flavourful. A choice of five fresh-made salsas and guacamole compliment the grilled meats and veggie options which go into their burritos, tacos and quesadillas. Home to the orignal haggis burrito, there’s something here for just about everyone.
THE COMPASS BAR
TAPA
44 Queen Charlotte Street, EH6 7EX, 0131 554 1979, thecompassleith.co.uk
19 Shore Place, EH6 6SW, 0131 476 6776, tapaedinburgh.co.uk
This pub sits on the corner of Constitution Street, making it handy for locals and workers looking for brunch or a speedy homemade soup and sandwich in their lunch hour. Exposed brick walls, wooden tables and soaring pot plants make it a relaxing spot to linger, and it fills up from 10am throughout the day with an ecelctic clientele.
Whether in Albacete or Zamora, a moment's walk from any main street will immediately immerse you in real Spanish life – the hustle of busy bars, alive with animated discussion, always conducted over great Spanish food. Mindful of this wonderful ambience, Tapa create exceptional, inspiring tapas dishes today. The only thing they can't promise is that you’ll come away with a tan!
CREDO
LA FAVORITA
46 Queen Charlotte Street, Edinburgh, EH6 7EX, 0131 629 1411, credorestaurant.co.uk
LFD West End Glasgow now open 23-25 Gibson Street. 321 Leith Walk, Edinburgh, EH6 8SA 0131 555 5564
Good value here does not mean any compromise in quality. In fact, bistro favourites are handled with aplomb in this new addition to Leith’s dining scene. Credo offers an exciting menu of mezze and tapas style sharing plates, including plenty of vegetarian options, to be followed by an assiette of desserts to share or a selection of fine Scottish cheeses.
La Favorita Delivered (LFD) started in Leith and took as their inspiration the authentic Italian traditions. The secret behind LFD’s rapid growth and success is that they are absolutely uncompromising about customer service and passionate about their product. It’s no wonder their pizza was voted the best in Scotland!
156 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
LEITH & BROUGHTON STREET CITY GUIDE
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DRINKING Boda Bar 229 Leith Walk, 0131 553 5900, bodabar.com
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CC Blooms 23â&#x20AC;&#x201C;24 Greenside Place, 0131 556 9331, ccbloomsedinburgh.com
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The Kingâ&#x20AC;&#x2122;s Wark 36 The Shore, 0131 554 9260, thekingswark.com
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The Lioness of Leith 21â&#x20AC;&#x201C;25 Duke Street, 0131 629 0580
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Joseph Pearceâ&#x20AC;&#x2122;s 23 Elm Row, 0131 556 4140, bodabar.com
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The Outhouse 12a Broughton Street Lane, 0131 557 6668, outhouse-edinburgh.co.uk
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CLUBBING
Pickles 56a Broughton Street, 0131 557 5005, getpickled.co.uk
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The Regent 2 Montrose Terrace, 0131 661 8198, theregentbar.co.uk
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The Roseleaf 23â&#x20AC;&#x201C;24 Sandport Place, 0131 476 5268, roseleaf. co.uk
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VDeep 60 Henderson Street, 0131 563 5293, vdeep.co.uk
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Victoria 265 Leith Walk, 0131 555 1638, bodabar.com/ victoria
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Woodland Creatures 260â&#x20AC;&#x201C;262 Leith Walk, 0131 629 5509, woodlandcreatures.co.uk
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THE BEAT GOES ON
Late licences and a party atmosphere abound during Edinburghâ&#x20AC;&#x2122;s festival month of August. David Pollock checks out some of the club nights and venues worth checking out in the hours between culture and sleep Visitors to Edinburgh in August who arenâ&#x20AC;&#x2122;t shelling out for whole daysâ&#x20AC;&#x2122; worth of Fringe tickets and collapsing in a crumpled heap before midnight will find the city has a club scene thatâ&#x20AC;&#x2122;s in good health if you know where to look for the best stuff. One of these venues is most definitely the noisy and ultra-compact Sneaky Peteâ&#x20AC;&#x2122;s on the Cowgate, who didnâ&#x20AC;&#x2122;t have their Festival roster together at time of going to press â&#x20AC;&#x201C; weâ&#x20AC;&#x2122;d wholeheartedly recommend a visit pretty much any night, though. Another venue which comes into its own during the month of August is 99 Hanover Street, a central, stylish pre-club bar with a regular roster of DJs and a livelier atmosphere when helped along by Festival late licence hours. As usual, theyâ&#x20AC;&#x2122;ve got a great bunch of Thursday night guests lined up for August in conjunction with some of the cityâ&#x20AC;&#x2122;s best clubs and events, with Kelburn Garden Party and Mothergroove hosting Nightmares On Wax (6 Aug), Xplicit welcoming Goldie (13 Aug), Hectorâ&#x20AC;&#x2122;s House, The Syndicate and Moovn bringing Marshall Jefferson (20 Aug), SSW presenting Terry Farley (27 Aug) and a to be confirmed closing guest on Sun 30 Aug. Most of the bigger Edinburgh club nights also run special one-off Festival parties, with those already confirmed including Jackhammer (Liquid Room, Sat 8 Aug), who present a UK special featuring DJ sets from Ben Sims and Radioactive Man, and a live appearance from rave legends Altern-8; and Musika (La Belle Angele, Fri 21 Aug), whose Fringe party sees Belfast-raised Feel My Bicep label boss duo Bicep playing alongside co-creator of the Running Back label, Germanyâ&#x20AC;&#x2122;s Gerd Janson. Other good nights to watch out for include the third of Tweakâ&#x20AC;&#x2122;s (Mash House, Fri 28 Aug) Summer15 season of parties, which sees residents Simon and Kieran welcome Parisian boss of Freak â&#x20AC;&#x2DC;nâ&#x20AC;&#x2122; Chic and Appolonia, Dan Ghenacia; techno party Fourbyfourâ&#x20AC;&#x2DC;s second birthday party (Studio 24, Fri 14 Aug), with Belgian DJ and friend of the club Hermanez in attendance; and for those arriving early, Drumcode and Circoloco regular Nicole Moudaber at Karnival (Liquid Room, Sat 1 Aug). Otherwise keep an eye on the latest listings, because any one of the clubs above plus more eclectic underground venues like Henryâ&#x20AC;&#x2122;s Cellar Bar and Summerhall regularly run interesting residencies and guest nights.
list.co.uk/festival | Edinburgh Festival Guide 2015 | THE LIST 157
CITY GUIDE CLUBBING
Cabaret Voltaire 36â&#x20AC;&#x201C;38 Blair Street, Old Town, thecabaretvoltaire.com, 0131 247 4704
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Castle Clvb 3 Queensferry Lane, West End, castleclvb. co.uk, 0131 261 7107
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The Caves Niddry Street South, Old Town, unusualvenuesedinburgh.com, 0131 557 8989
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Lola Lo 43b Frederick Street, New Town, lolaloedinburgh.com, 0131 226 2224
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Opal Lounge 51 George Street, New Town, opallounge. co.uk, 0131 226 2275
Cav
71 Cowgate, Old Town, opiumedinburgh. co.uk, 0131 225 8382
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Citrus Club 40â&#x20AC;&#x201C;42 Grindlay Street, West End, citrusclub.co.uk, 0131 622 7086
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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, espionageedinburgh.co.uk, 0131 477 7007
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Henryâ&#x20AC;&#x2122;s Cellar Bar 8â&#x20AC;&#x201C;16a Morrison Street, West End, henryscellarbar.com, 0131 629 2992
'HG G;8E8 ?<I8 :<:F 9EB@ ?B64? 4A7 GBHE<A: 4EG<FGF 4A7 J88>8A7 6?H5 A<:;GF C?4L<A: G;<A:F ?<>8 =4MM CFL6;878?<4 4A7 F>4
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
'A8 B9 7<A5HE:;]F 58FG 6?H55<A: 4A7
OVER THE RAINBOW
Lulu
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3 West Tollcross, Southside, thecav.co.uk, 0131 228 3252
LGBT
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Silk 28a Kingâ&#x20AC;&#x2122;s Stables Road, Old Town, silknightclub.co.uk, 0131 229 9438
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Sneaky Peteâ&#x20AC;&#x2122;s 73 Cowgate, Old Town, sneakypetes.co.uk, 0131 225 1757
,;8 H?G<@4G8 <A <AG<@4G8 6?H55<A: <A 7<A5HE:; BA?L ;B?7<A: 45BHG
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Studio 24 24â&#x20AC;&#x201C;26 Calton Road, Old Town, studio24club.co.uk, 0131 558 3758
+GH7<B B998EF 4 7BJA GB 84EG; @<K B9 EB6> E8GEB G86;AB 4A7 8I8A 4?>4A @HF<6 46EBFF <GF @4AL A<:;GF B@8 GB 4 9E<8A7?L 6EBJ7 FB@8 :E84G :H8FGF "F 4A7 ?<I8 54A7F 4A7 4 6B@@<G@8AG GB HA78E:EBHA7 @HF<6
Wee Red Bar Edinburgh College of Art, Lauriston Place, Southside, weeredbar.co.uk, 0131 651 5859
7<A5HE:; B??8:8 B9 EG]F F@4?? 5HG 584HG<9H??L 9BE@87 FGH78AG HA<BA 54E <F BA8 B9 G;8 ?8FF ;8E4?787 5HG @BE8 58?BI87 8FG45?<F;@8AGF <A 7<A5HE:; 9BE 4AL ?89G9<8?7 @HF<6 94A J<G; 4 G4FG8 9BE <A7<8 8?86GEBA<6 4A7 FB@8G<@8F 8KC8E<@8AG4? FBHA7F ,;8L CHG BA 6?H5 A<:;GF 4A7 ?<I8 :<:F
â&#x20AC;&#x2DC;EDINBURGHâ&#x20AC;&#x2122;S CLUB SCENE IS IN GOOD HEALTH IF YOU KNOW WHERE TO LOOKâ&#x20AC;&#x2122;
158 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
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 away from CCâ&#x20AC;&#x2122;s. With ÂŁ1 drinks on Monday nights and the campest pub quiz this side of Butlins, itâ&#x20AC;&#x2122;s the pre-club favourite you just canâ&#x20AC;&#x2122;t quite bring yourself to leave. Itâ&#x20AC;&#x2122;s also one of the more women-friendly gay bars on the Edinburgh scene â&#x20AC;&#x201C; although, towards closing time, â&#x20AC;&#x2DC;friendlyâ&#x20AC;&#x2122; might be bit of an understatement. 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 draft and bottled beers. The Street (2 Picardy Place, EH1 3JT, 0131 556 4272) is laid-back during the day, with bar snacks and coffee on offer plus huge windows that are ideal for people-watching. In the evening, the labyrinthine basement turns into a club. Tucked away just off Princes Street is one of Edinburghâ&#x20AC;&#x2122;s best-kept secrets, and no trip to the city is complete without at least one visit, because The Voodoo Rooms (19a West Register Street, EH2 2AA, 0131 556 7060) redefine the word fabulous. 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 kaleidoscopic soundtrack and a filthy disco to finish. 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?
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2014
OUR Z–A OF SHOWS, EVENTS AND ACTS
FESTIVAL
INDEX
Magnus Mills
Z–A
George the Poet
38
104
George Benson
110
Mac Twins, the
14
Gein’s Family Giftshop
50
Luke Wright
37
Gary Tank Commander
9
Luisa Omielan
44
Gary McNair
90
Bollywood Love Story
Lucy Ribchester
14
Gandini Juggling
63
BLAM!
84
Louise Stern
34
Game of Tones
Bill Wells & Aidan Moffat
71
Louise Reay
12
Gambler’s Guide to Dying, a
90
Bill Hicks: Dark Poet
Love Birds
74
Funz and Gamez Too
92
Bidisha
119
Bette Davis Ain’t for Sissies
112
BBC Big Band
Limbo
16
Freddie Flintoff
46
Bat-Fan
Liberi Di
16
Frankie Boyle
10
Barry Cryer
Liam Williams
92
Frank Sinatra
109
Lewis Schaffer
58
Frank Cottrell Boyce
Lesley Riddoch
10
Forest Fringe
121
Les Inouis
16
For Now, I Am
Les 7 Doigts de la Main
16
L’Enfant qui
16
Lee Miller & Picasso
29
FFS Festival Soundbites
Sarah Jane Morris
74
Le Haggis
ZENDEH
92
Sarah Hardie
29
Last Man Standing
Yuri Herrera
35
Sanjoy Roy
38
Sam Simmons
114
Ruaridh Murray
10, 16 64
116
76 10, 38
Freedom of Speech
54
9
16
Fringe by the Sea
Zoe Coombs Marr
Winter Is Coming. Again
68
B-Orders
107
Scotland and Slavery
Workers Rights
16
Brave Macbeth
120
38
112
Brickhead
Lindsay Lou & the Flatbellys
10
116
9
Bridget Christie
Lo Real
Zoe Williams
Yasmin Alibhai-Brown
114
14
Magic Flute, the
84 109 12
Barrie Kosky Barnum
9 104 16
BARBU Electro Trad Cabaret
16
92
Ballett Zürich
96
Flaming Lips, the
92
Ballett am Rhein
95
Fills Monkey
43
Balletronic
92
107
Ballet Revolucion
92
107
Arthur Smith
Festival Detours
9 114
Art Lates
9
Last Hotel, the
107
Festival Café
92
Lanark
100
Fern Brady
12
La Muete
16
Fanfare
Roy Lichtenstein
29
Kyle Kinane
58
Family Circus Workshops
16
Antigone
10
Kwang Young Chun
29
Fake it ‘Til You Make It
92
Anti-Apartheid
48 106
9
Armando Iannucci
10
Ari Shaffir
58
Apphia Campbell
76 20
Wings in My Heart
16
Ron Perlman
William McIlvanney
38
Robert Lepage
103
Kirsty Logan
35
Escape from Wonderland
16
And This Is My Friend Mr Laurel
84
Will Durst
58
Remembering Chet
110
Kinsey Sicks
58
ErictheFred
16
Amy Mason
35
Who Will Win America?
RAZ
92
Kevin McNally
76
Enda Walsh
107
Ambrose Akinmusire Quartet
Racheal Ofori
12
Kennardphillips
12
Encounter, the
107
Am I Dead Yet?
83
Virgin Money Fireworks Concert 107
Puddles Pity Party
16
Katia Kvinge
58
En avant, marche!
106
Ali Smith
38
Vertical Influences
64
Promise and Promiscuity
74
Katherine Ryan
92
Elephant in the Room, the
16
Alfie White: Space Explorer
92
VELVET
16
Play’s the Thing, the
68
Kate Tempest
37
Edinburgh Television Festival
10
Alex Salmond
10
Val McDermid
38
Platform 2015
29
JustBe Aromatherapy
10
Edinburgh Mela
121
Alex Edelman
58
Urinetown
74
Plan Bee
10
Just Festival
121
10
Albert Einstein
76
Twins
12
Plan B for Utopia
64
Julius Caesar
68
Edinburgh Fashion Festival
121
Alasdair Gray
100
Trevor Noah
46
Pip Utton
92
Juliette Binoche
20
Edinburgh Chorus
Alan Cumming
32
Piff the Magic Dragon
16
Julia Donaldson
66
Edinburgh Book Fringe
Alan Cox
76
Phyllida Barlow
27
Julia Davis
10
Donald Reid
10
Adrian O’Rourke
10
Don Paterson
37
Abigoliah Schamaun
58
Dolls
16
Abandoman
46
WHITE
Trespass Trash Test Dummies Tommy Tiernan
111
114
9
9 16 9, 92
Phill Jupitus
9, 76
Jools Holland
108
Peter York
24
Johnny Vegas
9
Edinburgh Food Festival
10, 14 121
110
Tommy Smith’s Karma
110
Titanic Orchestra, the
80
Penny Arcade
86
John Hannah
80
Diplomats of Jazz, the
14
887
Tim Key
92
Papa CJ
14
John Chamberlain
29
Dillie Keane
74
59 Productions
Tim Clare
35
Oslo Philharmonic Orchestra
John Bellany
29
Die Roten Punkte
46
4x4 Ephemeral Architectures
63
12
Diane Chorley
12
360 ALLSTARS
16
1927
Thrones! The Musical!
9
107
On the Sunny Side of the Street
74
Joe Lycett
Thinking Drinkers
14
Ockham’s Razor
16
Joan Armatrading
Tatterdemalion
16
Nish Kumar
52
Jo Caulfield
Nina Simone: Soul Sessions
76
Nina Simone Black Diva Power
76
TAO Dance Theatre Sun Kil Moon Sufjan Stevens Stoirm Òg Stik
107 92 107
Niki King
14
Nijinsky’s Last Jump
110 64
Dennis and Debbie Club
29
14
Deanna Fleysher
54
Jo Brand
46
Davina and the Vagabonds
12
Jim Cartwright
92
David Mills
14
Jessie Cave
12
David Greig
100
Jesse Jackson
38
David Bailey
24
31
Nicola Sturgeon
Jennifer Tremblay Trilogy, the
92
Dave
54
103
Nick McCarthy
100
Jena Friedman
58
Dark Side of the Mime
16
92
Muslim Women
114
Janis Joplin: Full Tilt
92
Danny Dorling
9
Murmel Murmel
107
Jamie Kilstein
58
Dan Clark
Steve Bell
38
Moishe’s Bagel
12
James Naughtie
10
Correction
Stephen Tobolowsky
58
Missing Hancocks, the
76
Improbable City, the
28
Confirmation
Stellar Quines
92
Minor Delays
14
Impossible
14, 76
Spencer Jones
16
Michael J Sandel
114
Iain Stirling
14
Company Chordelia
Soundimals Tamer, the
16
Michael Che
Iain Macwhirter
10
Comedy of Errors
Stewart Lee Stewart Francis Steve Frost
10, 38
119
58
64 83 7 107 64 68
Sorcha Dallas
100
9
Iain Hunter
14
Colin Steele Quintet 14
Sorcha Carey
28
Megan Ford
58
Ian Rankin
32
Cirque La Roux
Sonics
16
MC Escher
23
Human Resources
83
Circa
16
110
Max Richter
96
Homme / Animal
64
Cinema
92
84
Matty Grey
68
Hogwallops, the
16
Chris Thorpe
Matthew Winning
14
Harmonium Project, the
Songhoy Blues So it Goes Sinfini Music
107
Miaoux Miaoux
Complicite
10 46
10, 14
16
83
Chigozie Obioma
35
Simon Cartwright
76
Massive Dad
14
Hardeep Singh Kohli
10
Charles Avery
28
Sh!t Theatre
12
Marvin Gaye Chetwynd
28
Hanne Darboven
29
Changing Britain
10
Shane Meadows
10
Mark Thomas
Hanna Tuulikki
29
Centred
Shami Chakrabarti
38
Marilynne Robinson
Grossed Out Game Show
68
Carol Ann Duffy
Shakespeare Untold
68
Margaret Thatcher Queen of Soho 84
Graham Eatough
Shakespeare Shorts
68
Marc Brew
Shakespeare in the Garden
68
Marc Almond
Shakespeare for Kids
68
Scotland’s Ice Cream Trial
10
9, 121 38
16 9
100
Capercaillie’s Song
29
Gospel According to Jesus
92
Camille O’Sullivan
92
108
Gordon Brown
10
Butt Kapinski
54
Man Called Monkhouse, the
76
Globe Theatre
68
Bryony Kimmings & Tim Grayburn 92
Malcolm Donaldson
66
Gilded Balloon 30th Anniversary
160 THE LIST | Edinburgh Festival Guide 2015 | list.co.uk/festival
92
9
Bromance
16
103 10
104
FOR ALL INFORM THE ABOUT ED ATION RESTAURA INBURGH SHOPS A NTS, BARS, PLEASE S ND CLUBS, GUIDE WH EE OUR CITY ICH K ON PAGE 12ICKS OFF 3
7TH AUGUST - 31ST AUGUST