Edinburgh Festival Guide 2024

FESTIVAL EDINBURGH 2024

THE OUTRUN

CRYSTAL PITE

MIRIAM MARGOLYES

GRANT MORRISON

COMALA, COMALA

CHARLOTTE MCLEAN

PREM SAHIB

KIMBERLEY TESSA

DECLAN MCKENNA

SOPHIE FIENNES

KEITH BRYMER JONES

JOSH THOMAS

FUTURE LIBRARY

FREE

GINGER JOHNSON PUTTING THE FRINGE ON RED ALERT

Circa: Humans 2.0

Ghost Light: Between Fall and Flight

La Clique

Tweedy’s Massive Circus

Circus Baobab: Yé!

Sophie’s Surprise 29 th

Trash Test Dummies

||||| - About the Art of Letting Go

The Dreamer - Live

YOAH

Welcome

EDINBURGH INTERNATIONAL FILM FESTIVAL

15–21 August

edfilmfest.org.uk

We’re at that time of year once again when inboxes are bursting at the seams and nerves are fraying at the edges. But we love it, right? There really is nothing on Earth like the Edinburgh Festival and it’s worth saying (every single year) how fortunate we are to have the world’s biggest arts fiesta on our very doorstep. Sure, there are problems with the Festival and you can read about all of that extensively elsewhere. This Festival Guide is a celebration of all the good things about the chaos and creativity that lands in Scotland’s capital from, approximately, mid-July through to the very end of August.

Over many pages here, we provide a mere snapshot of the goings-on in and around Edinburgh (there’ll be much more in a late-July preview issue plus two review magazines in August, as well as all the online and social-media coverage; plus we’re handing out some awards this year. Watch this space etc). For now, we have a whole heap of interviews, such as one with our cover star, Drag Race winner Ginger Johnson, who is aiming to insert some red-hot flamboyant fluff into our serious lives.

As The Outrun reaches screens and stages, Amy Liptrot discusses how life has changed since she wrote her addiction memoir; Miriam Margolyes tells us about her lifelong love of the flawed Charles Dickens; visual artist Prem Sahib takes a brilliantly innovative dig at right-wing bigotry; comics icon Grant Morrison makes the move into novels; documentary-maker Sophie Fiennes explores the art of acting; choreographers Charlotte Mclean and Crystal Pite dig deep for their art; and Katie Paterson puts her stamp on an epoch-defining library project.

Plus, we have an all-encompassing City Guide, and other features on scary audience participation, fascinating instruments, bold new musicals, a highly emotional potter, Italian jazz, and more comedy newcomers than you can shake a stick at. If that’s your thing. The Edinburgh Festival is most certainly our thing, so dip in and see what’s going to be hot this July and August.

Brian Donaldson

FESTIVAL GUIDE EDITOR

CONTRIBUTORS

CEO Sheri Friers

Festival Guide Editor

Brian Donaldson

City Guide Editor Jo Laidlaw

Art Director Bradley Southam

Designer Isabella Dalliston

Subeditor Paul McLean

Writers

Ailsa Sheldon, Barbara McCrea, Becca Inglis, Brian Donaldson, Carol Main, Claire Sawers, Danny Munro, Dom Czapski, Donald Reid, Eddie Harrison, Eleanor Morton, Emma Simmonds, Fiona Shepherd, Gareth K Vile, Greg Thomas, Isy Santini, James Mottram, Jay Richardson, Jo Laidlaw, Katherine McLaughlin, Kelly Apter, Kevin Fullerton, Lucy Ribchester, Marissa Burgess, Megan Merino, Murray Robertson, Neil Cooper, Paul McLean, Rachel Ashenden, Rebecca Crockett, Robyn Bell, Stewart Smith, Suzy Pope

Print & Digital Content Manager

Murray Robertson

Senior Business Development Manager Jayne Atkinson

Online News Editor

Kevin Fullerton

Media Sales Executive

Lachlan McMaster

Digital Operations & Events Manager

Leah Bauer

Social Media & Events Coordinator

Hannah Campbell

Events Assistant Lily Pattinson

What did your primary school do for school trips? The zoo? Local museum? Panto with Biggins? We went to a plague pit. An enclosed, abandoned, full-of-children’s-bones plague pit. And you can too! Mary King’s Close is open every day to the public and, since I was in primary school, has levelled up with a café and gift shop. Edinburgh is absolutely heaving with ghosts. There is nary a street in the place which doesn’t have a sinister origin story involving a murder, a curse or a pact with the devil. Growing up in a city that regularly tops the lists of ‘most haunted locations in the world!!!’, I feel cheated that, as of yet, I

Mouthpiece

With her new Fringe stand-up show, Eleanor Morton ponders the paranormal and speculates on spooks. Here she asks: what’s scarier than an Edinburgh’s ghost?

have not seen a single ghost. Not one. Nada. Zilch. And even though I’m not sure I even believe in them, I’m yet to have an ‘experience I can’t explain’. I spent much of my childhood and adolescence longing for a paranormal encounter.

Reading about and connecting to Edinburgh’s past was a way for me to escape my present. Unhappy in school, feeling generally misunderstood for being too ginger, too ‘English’ and too nerdy, it was a welcome escape to learn about Scotland’s gruesome past and bloody battles.

Because what truly terrified me was social interaction. Real people scared me much more than ‘Annie’ the ghost girl who supposedly haunts Mary King’s Close, or Bluidy MacKenzie, the Greyfriars poltergeist. Edinburgh’s old streets became, in my head, a fantasy land of cobbles and wynds where spooks and demons lurked and phantom carriages rode. It was the Edinburgh of James Hogg, Robert Louis Stevenson and Margaret Oliphant, not the Edinburgh of The Mission nightclub and failing to get off with anyone, again, at Cramond beach.

Now, as an adult and a comedian, Edinburgh can scare me in different ways. The housing crisis scares me. The overtourism scares me. The Fringe, as much as I love it, scares me. What lurks in Edinburgh’s vaults and cellars now are comedians, and some of them are much more frightening to experience as an 18-year-old comic or a young flyerer than a ghost ever would be.

So next time you look into the window of an abandoned old Edinburgh tenement, ask yourself: is it really a spooky haunted house? Or, more terrifyingly, has it been left deliberately empty so it can be rented out for £5k during the Fringe?

n Eleanor Morton: Haunted House, Monkey Barrel,31 July–25 August, 12.05pm.

Born to Pun

Seeing the effort, energy and innovation that goes into the wordplay behind some Fringe show titles is almost worthy of an award in itself.

Instead, though, we’ll just list a bunch of our favourites right here

Planet Of The Vapes

Chortle Combat

Age Against The Machine

Scumbag Millionaire

Angle Of The North

3rd Rock From The Pun 2.0

Shall I Compere Thee In A Funny Way?

Stop! Stammer Time!

And Then He Turned The Fun On Himself

Pariah Carey

No Man Is An Ireland

Hot Ghoul Summer

45 Degrees Of Perspiration

In Pour Taste

Wuthering Shites

Farm Fatale

Two Reds Are Better Than One

Get Rich Or Cry Trying

American History Sex

2 Become Wand

eBae

Merchant Of Menace

3 Out Of 4 Twats

A Tale Of Two Fitties

I Came, I Saw, I Conq-Nerd

Sleeping With The Yemeni

Whether you’re a local who thinks they know it all or an annual August visitor who thinks they know it all, chances are you’re about to be schooled. No one knows facts like the No Such Thing As A Fish crew. Read ’em and learn . . . .

In the 18th century, the punishment for drinking after hours in Edinburgh was to be placed on a wooden horse with heavy irons on each foot and a drinking vessel on your head

St Stephen’s Church possesses the longest clock pendulum in Europe: it’s 65 feet in length, about the same as a prehistoric megalodon shark

Edinburgh facts

The world records for most legs waxed in one hour, fastest time to string a tennis racket, and largest game of What’s The Time Mr Wolf? were all set in Edinburgh

25,000 years ago, during the last Ice Age, you could walk from Edinburgh to Oslo across the ice

Dolly The Sheep has her own blue plaque in Edinburgh

The Wig Club, founded in Edinburgh in 1775, was a gentlemen’s sex club, named after the club relic, a wig woven from the pubic hair of Charles II’s mistresses

When travelling from London to Edinburgh by stagecoach 300 years ago, the baggage allowance was the same as when travelling from London to Edinburgh via Ryanair today

The tower clock of the Balmoral Hotel runs three minutes fast so that people rushing to Waverley don’t miss their trains; it’s usually put right for New Year’s Eve, but in 2020 the hotel didn’t adjust it for Hogmanay, explaining ‘we would gladly have three minutes less of 2020’

While studying at Edinburgh University, Gordon Brown dated the Crown Princess of Romania

Cadbury 99 Flake was named after number 99 Portobello High Street, where an ice-cream vendor opened a shop in 1922 and sold the first one (there are a couple of competing claims, but this one is according to the granddaughter of the man who first sold them in Portobello, so we choose to believe it!)

In the late 18th century, the city of Edinburgh gave 12 gallons of whisky a year to Edinburgh University Anatomy Museum for the purpose of preserving medical specimens

The colonel-in-chief of the Norwegian King’s Guard lives at Edinburgh Zoo; he’s called Major General Sir Nils Olaf, baron of the Bouvet Islands, and he is a penguin

In 1895, Lilian Lindsay became the first woman to qualify as a dentist in the UK; when she took up her role at Edinburgh’s Dental Hospital, one of the staff complained that she was ‘taking the bread out of some poor fellow’s mouth’

The Royal Mile is actually one mile and 107 yards long, but that’s at least more accurate than Blackpool’s Golden Mile which is 1.6 miles long, and Manchester’s Curry Mile which is about 400 metres

Quidditch, digestive biscuits and overdrafts were all invented in Edinburgh

 No Such Thing As A Fish, Edinburgh Playhouse, 14 August, 8pm; We Can Be Weirdos Live With Dan Schreiber, Underbelly Bristo Square, 3–7 August, 7pm.

Delve into a sonic universe with our curated Festival Guide soundtrack

If you’re wondering what noise this guide would make, our playlist has the answer. Pulling from the contents ahead (and going on a few fun tangents), hear songs by Lianne La Havas, The Blue Nile, Mozart, Paramore, Wizkid, Declan McKenna, Alien Sex Fiend, and more . . .

Scan and listen as you read:

playLIST

The number?magic

According to author Douglas Adams, 42 is the number which holds the key to absolutely everything. Not at this Fringe it doesn’t. It’s clearly 44 given the vast number of shows (OK, just the three below) which have taken it on as part of their title. Still, weird, right?

44 SEX ACTS IN ONE WEEK Pleasance Dome, 31 July–26 August, 4.40pm

BILL’S 44TH Underbelly Cowgate, 1–25 August, 6.55pm

THE TECHTONICS: 44 DAYS OF LIZ TRUSS (A CAPPELLA) Gilded Balloon Patter House, 12–26 August, 11.30am

PICTURE:

PICTURE:

Amy Liptrot is 13 years sober and a very different person from the one detailed in her acclaimed memoir The Outrun. As a new film and play about her story of addiction and recovery arrive in Edinburgh, the Orcadian writer talks to Claire Sawers about cold-sea swimming, red-carpet events and the seaweed revival

DEEP DIVE A

Amy Liptrot is ten days deep into quitting smoking when we speak over Zoom. Her smoking cessation method? She left her tobacco on the mainland and she’s currently on Papa Westray (Papay to the locals), one of Orkney’s smallest islands, with zero tobacco products for sale. ‘That’s been quite effective!’ she says, with a firm nod and a soft laugh. ‘There are always new issues which raise their head. I feel like I’m dealing with some of the same old shit, just in a different way.’

Eight years after the publication of The Outrun, her memoir of alcohol addiction and recovery, Liptrot has moved back temporarily to the same island where it was written. The book has many flashbacks to clubbing and dating in London, where Liptrot worked as a journalist, but was mostly written contemporaneously.

Present-tense passages describe the cold-water swims and corncrake tracking that became part of her detox in Orkney, where she grew up on a remote sheep farm. Finding solace and purpose in nature, Liptrot has written about snorkeling through kelp forests, gazing at meteor showers and, as detailed in her second book, The Instant, searching for urban raccoons in Berlin. At one point Liptrot had a corncrake call as her phone ringtone.

If you’ve managed to miss hearing about the wonderful Orcadian nature writer, this might be the summer when you can’t any longer. A film adaptation of The Outrun, starring Saoirse Ronan, opens the Edinburgh International Film Festival, and National Theatre Of

Scotland presents its version of her book as part of the International Festival. Liptrot is also discussing The Outrun at the Book Festival in its new Edinburgh Futures Institute home.

‘It’s a bit like things have come full circle,’ says Liptrot, sitting at her desk, a few metres away from the sea where she’s been taking daily morning dips with seals, Arctic terns and seaweed. ‘I’m thinking about the book again because of the film and the stage production. But actually, I’m ten years older and the material in the book is a long way behind me. I have children now, life is different. I feel like the people who are making the stage show and the people who were in the film, are much closer to my drinking and the struggles and pain of that time than I am right now. I know that in the last couple of weeks there have been some very intense rehearsals for the play. I’m 13 years sober but I’m glad I recorded that phase.’

Liptrot was closely involved in the film production, spending years liaising with German director Nora Fingscheidt and the crew, then working as a co-screenwriter and spending time on set during filming. The stage production, however, adapted by Scottish playwright Stef Smith and directed by Vicky Featherstone, has had almost no input from Liptrot.

‘If there had not been a film, I would have got more involved in the stage production but I just couldn’t; I didn’t have the bandwidth to approach that material again. It was impossible for me. I just gave my blessing!’ Following a one-off performance of Smith’s work-inprogress play during the 2017 Fringe, The Lyceum wanted to develop

it for a longer run. ‘I assumed it had maybe slipped through the cracks or been forgotten about, until I was told in January this year that it would be in the International Festival in August! It came as a big surprise. I only saw the script last week and I like it very much indeed. It’s beautiful and moving and surprising.’

Liptrot is also full of praise for Saoirse Ronan who plays Liptrot’s character in the film, renamed as Rona (the character is unnamed in the play). ‘We’ve had a couple of chats; I really wanted to express to Saoirse about making the character her own, which she’s done. She’s not doing an impression of me. Saoirse’s very smart and committed. She learned to lamb a sheep: they hung around on the farm, day and night, waiting for the right shot and she delivered seven lambs! She learned to build drystane dykes and got in the freezing cold sea with seals. She lived in the community on Papay for a few weeks during filming so literally had some of the same experiences as me.’

Like Liptrot, Ronan didn’t shy away from extreme experiences, leaning into them as she researched the role. Cold-sea swimming was crucial for Liptrot, not only while she worked hard to stay sober, but for unblocking her creative process. The book describes impasses in Liptrot’s writing, which could sometimes be remedied by the adrenaline surge that follows her icy plunges into the Atlantic Ocean or North Sea.

‘In a way, being involved in the publishing industry and appearing in public at red-carpet events . . . I don’t know if I’d say I’m comfortable with it but it’s a nice contrast to most of my life which is spent either by myself or with small children. I find it nerve-wracking but I enjoy that

adrenaline. I think the whole process of putting myself out there, going onstage at a book event, is another example of the taste for extremes that I talk about in the book. Drugs and alcohol, then cold seas and living on a remote island over the winter; being public is another manifestation of that same drive.’

For now, Liptrot’s head is full of seaweed while she researches her next book. ‘There’s a bit of a seaweed revival going on in Scotland. That’s what’s motivating me right now: making the new book as good as I can. There’s lots of interesting stuff going on in science, people trying out new things. I’ve actually got a bowl of carrageen pudding I’m experimenting with in the kitchen.’

Her daily life on Papay is a mix of writing, research, morning swims and nature appreciation, this time with two sons and a partner. But she’s looking forward to her Edinburgh visit in August to see what crowds make of her memoir, eight years on, and now with two major adaptations. ‘I was a student in Edinburgh so it’s always nice to return. I was actually thinking recently about one year when I tried and failed to get a job in the Fringe office for the summer. I wish that 19-year-old me could see all the stuff I’m doing in the Festival now. It’s mental, it really is.’

The Outrun, Church Hill Theatre, 31 July–24 August, times vary, as part of Edinburgh International Festival; Amy Liptrot is at Edinburgh Futures Institute, 13 August, 1.45pm and 18 August, 7.30pm, as part of Edinburgh International Book Festival.

had to adapt to nature’s rules” “

We

When Nora Fingscheidt received a copy of The Outrun, she was living with her husband and young family in Los Angeles. The German director had graduated from her 2019 break-out hit System Crasher to working with Sandra Bullock on the post-jail drama The Unforgivable. But when she read Scottish writer Amy Liptrot’s memoir, it touched a nerve. ‘It hit me during a phase of my life, and in a place, where I was very homesick. I was missing Europe. I was missing some sort of solitude, and it really moved me so much for many reasons. The brutal honesty about Amy’s story, but also the place and her family story.’

Liptrot’s fractured autobiography chronicles both her bleak days in London, when an addiction to alcohol took hold, and her recovery on the Orkney Islands, where her religious mother and mentally unstable father lived. In Fingscheidt’s adaptation, she’s renamed Rona and played by the brilliant Saoirse Ronan, who was attached as both producer and star when Fingscheidt signed on. ‘Knowing that Saoirse would play the character made it very promising. Not everybody can pull it off to have enough presence to hold a film. That is half the film, just herself on the remote island.’

Replicating the book’s expressionistic structure, The Outrun unsparingly depicts the grip of alcoholism. ‘What we were trying to bring across with the film is how difficult it is to be sober,’ notes Fingscheidt. ‘When you’re an alcoholic and you really deal with that disease, then it’s not enough to be three months sober, six months sober . . . from the outside, when you don’t deal with alcoholism, it’s very easy to say “come on, you’re sober now four months, that’s great! Now get a life: do something!” But it’s still one day at a time, and you really have to learn to find joy in life.’

Nora Fingscheidt opens up the Edinburgh International Film Festival with her adaptation of Amy Liptrot’s stark memoir of addiction. James Mottram speaks to the German filmmaker about filming in remote parts of Scotland and how she depicted a person gripped by alcoholism

Far removed from LA, filming on the remote Orkney Islands was both ‘crazy and fantastic’, says Fingscheidt. ‘We knew that nature would be its own character in the film. It’s a film about a woman and a place, and so we had to adapt to nature’s rules.’ This meant the production visited Orkney four times. ‘First in April when the lambs are being born. Then we had to come again in June when the birds are nesting in the cliffs. And then our main shoot was in September when the seals are there to swim with. Then we had to go one more time to catch some snow in February.’

Included in the shoot was a move from Orkney’s main island to the tiny, remote and very windswept Papa Westray. ‘We almost doubled the number of inhabitants on the island,’ says Fingscheidt. The island’s only hostel had just 12 beds, but with 30 crew members to house, the locals took them in. ‘We lived in their houses, in their backyards, guest houses. And we grew together, like a big family. It was very exciting for the island, very different to the routine that’s usually there, which is calm and peaceful.’

After receiving its British premiere at Edinburgh, Fingscheidt is planning to hold a screening back on Papa Westray. With the film featuring a number of non-professional Orcadian actors, including AA members glimpsed in Rona’s meetings, she calls it a ‘blur between fiction and documentary’. Whatever the case, you can imagine the tourist trade might be given a boost once the film opens in the UK at the end of September. While Fingscheidt moved her family back to Germany, there’s a glint in her eye every time she talks about Orkney. ‘It’s quite magical.’

The Outrun, Cameo Picturehouse, 15 August, 8.45pm, 9pm; Summerhall, 16 August, 12.30pm; 50 George Square, 16 August, 4pm.

Nora Fingscheidt

The unforgettable true story of one son, a DNA test, and 35 half-siblings

Patron’s Pick Toronto Fringe Festival 2023

Best of Fringe

Toronto Fringe Festival 2023

TEN AND PERFORMED BY

He nds his way with the help 13:30 | 01 - 26 AUG ASSEMBLY ROXY:

hristine Cir

7) THE GRAND BUDAPEST HOTEL

Though she’d established herself as a leading lady by 2014, Ronan settled for a supporting role in Wes Anderson’s meticulously constructed confection, as love interest to Ralph Fiennes’ right-hand man played by Tony Revolori. Anderson was the first director to fully exploit her gift for comedy, something which has been well flexed ever since.

6) BROOKLYN

Ronan scored the second of her four Oscar nominations for a stunning turn as a smalltown Irish lass who relocates to New York before being drawn back home in this adaptation of Colm Tóibín’s novel. While the film can feel a bit naff in places, her credibly conflicted protagonist still keeps you hooked.

5)

SEE HOW THEY RUN

This 2022 mystery comedy is an enjoyable if insubstantial affair, but Ronan is simply superb. Her work as the hilariously monikered, mustard-keen and not hugely astute Constable Stalker may be her funniest to date; she’s the perfect upstanding sidekick for Sam Rockwell’s inebriated inspector.

4) ATONEMENT

Her breakthrough came in Joe Wright’s lavish adaptation of Ian McEwan’s novel. As naïve meddler Briony, she jealously observes the developing relationship between her older sister (Keira Knightley) and the housekeeper’s son (James McAvoy) before tearing it apart. That porcelain precociousness bagged her Oscar nom numero uno, aged just 13.

3) LITTLE WOMEN

In Greta Gerwig’s joyful adaptation, Ronan is flanked by an incredible cast, including sparring partner Florence Pugh, matriarch Laura Dern, and soppy admirer Timothée Chalamet. She’s a marvellous, thoroughly modern Jo March; it’s a role that’s been played by so many, yet she wipes them from your mind.

2) AMMONITE

This underrated romance showcases the actress at her most agonised. Francis Lee’s take on the story of palaeontologist Mary Anning (Kate Winslet) has her falling for friend Charlotte (Ronan). The pair turn in beautifully pained performances as wrung-out women slowly opening themselves up to the possibility of love.

1) LADY BIRD

Towering at the top spot, Ronan brings those comedy skills to Greta Gerwig’s pitch-perfect, highly recognisable tale of teen turmoil and mother-daughter friction. Whereas Little Women is an ensemble piece and Ammonite a chance to go toe-to-toe (and then some) with Winslet, in Lady Bird Saoirse Ronan is the undoubted star.

Saoirse’s 7

With anticipation building over Saoirse Ronan’s role in The Outrun, Emma Simmonds casts a critical eye over an already prestigious fi lm career and considers her top seven roles

We need you to scream into this microphone ” “

What is our greatest fear? Heights, arachnids, public speaking, and global apocalypse seem like reasonable candidates. But surely jostling for space in the higher echelons of human anxiety is audience participation at a Fringe show. Whether you’re a paying customer or a freeloading hack, every audience member is fair game. The following accounts from a number of our most seasoned critics contain recollections that some readers may find disturbing. Or hilarious . . .

KELLY APTER

Reviewing kids’ shows at the Fringe is often your unwitting passport to participation and, usually, good-natured humiliation; especially if you’re accompanied by a child young enough to enjoy your moment in the spotlight, rather than a mortified adolescent. Over the years, I’ve been enlisted to walk across the stage on all-fours like a dog (decent), attempt a breakdance windmill (dreadful), stand inside a giant bubble holding a toddler (dreamy), and eat a flame transformed into a chewy sweet by a magician (delicious). All of which were met with warmth and support by fellow parents, clearly relieved I’d taken one for the team.

But perhaps my finest participatory hour at the Fringe so far, was being handed a bag of confectionery by American comedian Rich Hall and asked to supply him with one chocolate bar at a time to feed a saucy improvisatory tale. I like to think my well-timed use of the ‘Turkish Delight’ bought Hall his best laugh of the evening.

MURRAY ROBERTSON

‘Don’t worry, I’m an expert at not getting picked.’ It was the 2015 Edinburgh Fringe and I was reassuring my nervous friends as we’d just been emphatically seated in the centre front row of Coach Coach by character comedian Adam Riches. Going to see one of his shows is an exhilarating, hilarious and nerve-wracking experience; no one is safe and he preys on the fear of participation. Unexpectedly, this particular show (which featured a cast of other comedians) breezed by without a hint of audience involvement. Until ten minutes before the end. Riches suddenly beckoned me to the stage upon which I had to play a critical part in the preposterous denouement. I was dizzy with excitement (and a little lager) and I failed to hit my marks. It was terrifying. It was wonderful.

And then last year, in The Guys Who . . . , Riches again coerced me onto the stage. When it does happen, the trick is go along with it; any hint that you’re trying to get it over with and he’ll stretch your suffering to the joy of all around (the longer you’re up on stage, the less likely they’ll be selected). But it won’t happen again. I’m an expert at not getting picked.

LUCY RIBCHESTER

During the 2003 Edinburgh Festival, I went along with the cast of a student show I’d written to see Stephen K Amos at Teviot House. Drunk on the high of being part of the Fringe (and also probably just drunk), we sat in the front row. Amos, after briefly mounting my friend, petitioned me to steal a man’s glasses on the grounds that ‘god doesn’t want him to see properly’. Ever suggestible (even when sober), I got up and diligently did as I was told, at which point Amos stopped the show to say no one had ever taken that request seriously before. The next day one of my pals told me the incident had made it into Amos’ five-star Scotsman review.

I was wary, then, when years later I began reviewing and my mentor (the wonderful Donald Hutera) advised me to always sit at the front. Nevertheless I have kept this up and come away largely unscathed. Until last year. There are probably worse things than being dragged onstage for a selfie with a person dressed as a cuddly polar bear, making a garbled point about climate change. But I’m not sure I’ll be sitting in the front row any longer to find out.

KEVIN FULLERTON

Right, I’m three rows back, safe from the audience-participation danger area (even the killer whales at SeaWorld can only splash the first two rows). Courtney Pauroso arrives onstage in a bondage-style bikini performing as Vanessa 5000, a sex robot descending into an existential crisis. After observational material about the life of an erotic automaton and some aggressive twerking, I hear the words ‘Kevin . . . come and help me’. My untouchable hideout is a failure. I find myself onstage, improvising with Pauroso and spanking her after a ‘technical malfunction’ (‘harder than that’, she insists to cheers from the crowd).

Soon I’m bent over a stool, facing the audience while Pauroso lingers behind me, the threat of a thrashing in the air. Then I’m talking to her while she draws my portrait. The ‘portrait’ turns out to be my penis, not to scale. I’m taken backstage by Pauroso and left in the care of her production team. ‘We need you to scream into this microphone’, they tell me, thrusting one in my face. I bellow and wait for five minutes before being rushed in front of a roar of applause. An audience member later informs me that I was murdered by Vanessa 5000. Fair enough.

BRIAN DONALDSON

While I’d rather a venue spontaneously burnt to the ground than be a foil for an act’s onstage whimsy, I’ve been fortunate that most of my audienceparticipation ‘happenings’ have proved to be mainly brief and largely uneventful. Brandishing my notebook and pen, like a New York City cop waving their badge at a pimp, actually saved me from Adam Riches during his debut hour (he was but a fledgling audience-accoster at that point). But I have been dragged up by magician Ali Cook (delightful man offstage, cruel destroyer of confidences on it) for a trick that involved a small solid dice turning into a massive fluffy one, while I’m pretty sure I messed up a clever illusion by the late Ewen MacIntosh during his spooky/ funny midnight show at The Caves. He was very polite. I also became silent, and possibly pretended to not have English as even my second language, when Todd Barry brusquely interrogated me about the laws in Scotland on sex-work.

But the one onstage memory that will stay forever fixed in my head arrived when Luton lyricist and people’s poet John Hegley required every spectacles-wearer in his Assembly Rooms audience to get up and swap glasses with each other. Harmless enough. And then start Morris dancing around his stage. For several minutes. Harm was almost done. Proving that no ill-will lingered, when I bumped into Hegley in the Traverse bar a few nights later, I bought him his favourite snack of salted peanuts. He was very polite.

MARISSA BURGESS

Most acts avoid contact with the press person in the room if they’re aware of a reviewer’s attendance. Only a minority will be confrontational, and I still haven’t recovered from Nick Sun looming over me while stood on a chair in a daylit room bellowing ‘ah, Marissa Burgess!’ Or in the case of Mrs Barbara Nice, everyone is joining in with the audience participation, reviewer or not! But usually when picking folk from their crowd, an act will steer clear of reviewers.

Candy Gigi, though, is a fearless clown, her shows are weird, shocking and high on audience participation. On this occasion, 2017’s Becky Rimmer’s Bat Mitzvah was criminally underattended so I was bestowed the honour of playing both her somewhat emotional mother and her frenemy Sarah for a story in which Gigi transforms herself into a 13-year-old on the cusp of womanhood. Pretty much all of us took our turn except for the Chortle reviewer who she happened to recognise. But he missed out. At one point I was just hitting my stride when Gigi had to admonish me for hamming my part up.

PICTURE: JILL PETRACEK

RED HOT

She was anointed winner of RuPaul’s Drag Race UK last year, but rather than resting on her Swarovski laurels, Ginger Johnson is pursuing new challenges. Lucy Ribchester hears about a risqué new solo show that promises daredevil antics, shameless attention seeking and ‘cunning stunts’

G

inger Johnson is in her element. She has just been shopping and is now holding reams of aqua, mermaid-coloured sequined cloth, and silver faux-crocodile skin up to the Zoom camera. ‘There’s this amazing lady in Shepherd’s Bush,’ she says, brandishing something that looks like a cross between crystal shards and space feathers. ‘She keeps me stuff when it comes in that she thinks I’ll like. The cupboard was full today and I just bought all of it.’

But wait, what’s that silky tabby-print boa draped insouciantly across Ginger’s left shoulder? Oh, that’s her cat, Wendy Carlos, a petite oriental shorthair with a pensive, slightly wild face and a bit of a ‘don’t fuck with me’ expression. ‘She doesn’t like to be ignored,’ Johnson says. ‘So if you hear screaming coming from the corner of the room at any point, that will be her.’ Johnson, who last year snatched the crown as winner of RuPaul’s Drag Race UK, admits her own temperament is not too far off Wendy’s when it comes to seeking attention and clambering for adoration. It’s been a busy and rewarding time for the drag queen, but despite the enormous achievement of that win, she has barely paused to draw breath before plunging into her next challenge. This has come in the form of her brand new one-woman show, Ginger Johnson Blows Off!, which premieres at the Fringe and, Johnson says, ‘is basically about how far I will go for a round of applause’.

Creative people don’t often own up to the mixed feelings that come from achieving their dreams, but Johnson says her Drag Race win, as well as being a massive high, also brought with it a sense of emptiness that the thing she had spent so much time longing for had finally happened. ‘Drag Race was a huge dream of mine for years. I never imagined I would win it, not in a million years, not a million years,’ she emphasises. ‘But to have that experience and be put through that challenge . . . weirdly, I’ve ticked that off the list. It’s not a dream anymore. It’s a fact. And that left a little space inside me for a new dream to come out.’

This new show will put her through new trials, which range from performing 80s power ballads to ‘death-defying illusions’ and ‘cunning stunts’. It’s something of an attempt at breaking away from the Ginger she presented on Drag Race, pushing that character out of her comfort zone. ‘The character people know me as from Drag Race is sort of soft and warm and a bit motherly, maybe a bit matronly. I wanted to throw all that out the window. Let’s see what it’s like if Ginger is The Great Gonzo or Evel Knievel or Dangerous Brian.’

The challenge, she says, is to take risks when you have expectations to live up to. ‘There is a huge expectation on me having won the show. You know, what am I capable of? What can I do? After you feel like you’ve unexpectedly hit this big high, where do you go? I’m lucky to have the opportunity to do that on a big stage in front of lots of people.’

Johnson is keen, however, to point out that despite the existential questions underpinning the show, Blows Off! is also rooted in a desire to entertain and make people happy. ‘I think at this moment in time . . . maybe the world just needs a big silly bit of fluff,’ she says.

This embracing of entertainment for its own sake is a far cry from her last venture at the Edinburgh Fringe. In 2019 she brought us Ginger Johnson’s Happy Place, which explored her struggles with anxiety, depression and trauma. It was a piece very much of its era (‘a classic Edinburgh debut’ as Johnson says), at a time when blending comedy and cabaret with confessional narrative was almost expected of stand-up comics and performance artists (Richard Gadd’s Baby Reindeer debuted that same year while Hannah Gadsby’s Nanette had dominated Edinburgh in 2017). The show did well, garnering both critical acclaim and bums on seats. But in a cruel irony, revisiting all of that trauma onstage took its toll on Johnson’s mental health. ‘It was tough. It was really, really tough, because that meant sort of reprocessing all of that baggage every day in the show.’

By contrast, taking a ‘different tack’ has brought a love of drag back full circle to the thing that initially drew her to the form. Johnson grew up at a time when British drag was rich and vibrant, bold, mainstream and everywhere, whether we acknowledged it as such or not. ‘There was a time when drag was actually on TV quite a lot, which people seem to forget about. We had loads of Lily Savage on primetime TV, not only on her own shows but on Blankety Blank, and lying on the bed on The Big Breakfast.’

As a teenager, Johnson had always wanted to be a pantomime dame. ‘They had the best outfits. They had the best jokes, the biggest round of applause at the end of the show. Their picture was the biggest on the poster; that all sounded great to me.’ In some ways she believes we have gone backwards now, particularly when it comes to mainstream drag on familyorientated TV. ‘That stuff would be controversial now. Ridiculous.’

Instead, drag has found its own renaissance, led by the success of Drag Race which, while still high profile, celebrates the art within the queer culture in which it was born. One of the cornerstones of that show has been its focus on the backstage ‘Werk Room’, where it explores not only the various disciplines and crafts drag queens need to master, but the stories of the contestants themselves.

‘There are very, very few high-profile TV programmes that let a group of queer people sit around together and talk about their experiences living as a queer person. And if I’d had access to that kind of thing when I was younger, when the shame was building inside me about the person that I was . . . ’ (she pauses before letting out a cackle) ‘god help the world because I would have been far too powerful!’

It’s clear that winning Drag Race has meant the world to Johnson. After receiving her crown, she purchased a revolving turntable on which to display it; she also confesses to having carried the sceptre around for three months: ‘I was using it to open automatic doors.’

Despite, or perhaps because of the pressure it has brought, there are still aspects of Johnson’s drag that she feels insecure about. ‘I find it hard to connect to a sort of sexy energy; in drag and in life, if I’m being totally honest. I’d love to be able to do that. And I don’t know what that is for Ginger. I can’t imagine how that manifests.’ In the spirit of embracing challenges, is that perhaps one to look forward to in future shows? She smiles. ‘Maybe next year at Edinburgh will answer that question.’

Ginger Johnson Blows Off!, Pleasance Courtyard, 31 July–24 August, 6.30pm.

Everybody is antisemitic, darling ” “

Depending on who you ask, Miriam Margolyes is either a foul-mouthed octogenarian or an untouchable national treasure. Ahead of her return to the Fringe, she tells Becca Inglis about finding new levels of fame in later life and her undimmed passion for the flawed Charles Dickens

When we speak in mid-May, Miriam Margolyes is about to mark a big birthday. ‘I never thought I would be 83,’ she shares with her characteristic barbed joviality, ‘and I’m going to be if I live until Saturday.’ It’s a cause for celebration, not just for her longevity, but for a career that has never been in ruder health. Only a few years ago, she was bemoaning her comic role in the public eye, expressing a wish to tread the boards as a Shakespearean actor. But in her ninth decade, she is enjoying the shape her fame has taken: ‘I’m better known than I’ve ever been in my life,’ she marvels.

Now the author of three books, a member of Call The Midwife’s roster and something of a panel-show darling, Margolyes has won over audiences with her frank, approachable manner. And people do like to approach her. ‘They ask what I call Reader’s Digest questions: who’s the worst? Who’s the best? What’s it like being old?’ But all this pales in comparison to her life’s work as the nation’s most formidable interpreter of her favourite novelist. ‘I am a Dickensian actor,’ she says. ‘People say “Miriam is an over-actress”. I don’t care. That is required in this instance.’

Her affection for audience and author culminates in a new solo performance, Margolyes & Dickens: The Best Bits, her first Fringe show in 12 years. Half the set is reserved for an audience to ask those Reader’s Digest questions, while part two reprises the same format as her Dickens’ Women, bringing to life Charles Dickens’ most colourful characters. Margolyes’ love affair with him stretches back to her girlhood, when she first read Oliver Twist at school. ‘The vitality of it!’ she exclaims. ‘It’s very filmic. I came across this chap, Fagin the Jew, and that sparked my interest. It was clear that he was not only extremely funny but horrible, evil, a complete arse. I thought “how can that be Jewish? I’ve never met anybody like that.”’

Fagin is among Dickens’ most infamous creations, his own contemporaries accusing him of prejudice for his portrayal of the Jewish crime lord (he edited some of the more offensive content out in later editions). When pressed on whether she believes Dickens was antisemitic, Margolyes is typically forthright: ‘everybody is antisemitic, darling,’ she says. ‘He was a chronicler, a journalist, and Jews couldn’t earn a living. Maybe they couldn’t speak the language. They were refugees, and he reported what he saw. But he added that extra spice of evil, which is extraordinary.’

That’s not to say that Dickens is beyond reproach. Margolyes is incandescent about how he treated his wife, whom he attempted to have incarcerated in an asylum in a scheme to be with his mistress. ‘He was a bastard, no question. But he wrote like a king, like a god.’ Would Dickens have been cancelled had he published today? It is difficult to answer sensibly, argues Margolyes, because he wrote then, not now. Anyway, she’s a believer in dialogue. ‘You have to accept sometimes that people are imperfect, even the ones we admire. You want your great artists to be great men. They are not. They are great artists.’

Margolyes herself has courted controversy over the years, triggering headlines with her love for a well-timed swear or salacious anecdote. She hasn’t held back from condemning what she considers the ills of our time either, aiming a sharp tongue at Israel’s leader Benjamin Netanyahu (‘he is doing his best to wipe out a nation, and that is loathsome, contemptible and wicked’) or Boris Johnson’s handling of the pandemic: ‘the wars, the greed, the lies, the National Health Service collapsing . . . I don’t remember anything in my lifetime being as awful as things are at the moment.’ There’s a sense from her outrage that the public are shocked by the wrong things.

‘I think of myself as a moralist. I may say “cunt” and “shit”, but I haven’t hurt anybody. I haven’t deprived anybody of food or shelter. It’s what you do that matters, not what you say.’

Revisiting Dickens now feels pertinent, with diseases like scurvy reappearing, homelessness reaching record highs, and experts predicting Victorian levels of inequality in the UK. ‘Nobody has learnt anything. We just go on in this endless cycle of cruelty and occasional kindness. I think he was terribly aware of that,’ says Margolyes of Dickens. Is there anything we could learn from him about facing our challenging zeitgeist? ‘What he does teach is what people hide. I’m always interested in that. That’s why I ask the questions that I do, because they jerk people back. They’re momentarily shocked and they drop their guard. That’s the moment I’m waiting for.’

Now that Margolyes has settled into her eighties, does she relate to Dickens differently from when she first devoured Oliver Twist aged 11? ‘I don’t think my age has dimmed the happiness I feel when I open a book by Charles Dickens. I feel the same excitement, the same surprise and the same joy in the prose.’ She feels similarly about the Fringe, where she performed long before finding TV fame; it’s clearly a thrill to return, accompanied by the main man in her life. ‘It’s a bit of a lark . . . it’s nice to have a lark when you’re 83.’

Margolyes & Dickens: The Best Bits, Pleasance At EICC, 7–15 August, 4pm.

King Charles?

The London literary legend may not be quite the towering figure across the Edinburgh Festival that he once was, but it’s not hard times just yet for his fans. Brian Donaldson wonders what the Dickens is going on this August

The Fringe revels this year on the bleak side of Charles Dickens, in particular the spooky, fogshrouded elements of his work. The Signalman was one of his final works and reputedly based on his own experience of being in a train crash.

In a one-man piece, performed by Tim Larkfield, this worker tells the audience his story and wonders if the shadowy figure he keeps seeing in a tunnel is a portent of looming catastrophe.

The Hanged Man’s Bride is the sinister tale of a blocked writer paying a visit to a seemingly haunted inn in order to free up that obstruction. Bad move. Meanwhile, Ghost Light follows the account of an author who is keen to meet Dickens so joins the notorious London Ghost Club. As you might expect, he gets a bit more than he bargained for.

Lighter joviality can be expected at The 30th Anniversary Edinburgh London Literary Pub Crawl, which takes in stories about authors such as Shakespeare and Dickens as well as characters you may have heard of (namely Harry Potter and John Rebus) and their links to the Scottish capital’s booze scene.

At the Book Festival there’s one author in attendance whose new work is being lauded with the word ‘Dickensian’: our very own Andrew O’Hagan whose Caledonian Road features a renowned London professor suffering a dramatic fall from grace.

The Signalman, ZOO Southside, 2–25 August, 2.55pm; Charles Dickens: The Hanged Man’s Bride, theSpace @ Symposium Hall, 2–23 August, times vary; Ghost Light, theSpace @ Niddry Street, 5–17 August, 7.20pm; The 30th Anniversary Edinburgh London Literary Pub Crawl, Pleasance Dome, 2–25 August, 3pm; Andrew O’Hagan, Edinburgh Futures Institute, 21 August, 8.30pm.

PICTURE: ELEE NOVA

The Signalman

Apocalypse

now?

Katie Paterson’s art approaches big topics on a grand scale, making hard-to-fathom concepts tangible. Celebrating its tenth anniversary, her astonishing Future Library project is aimed at generations to come. But Paterson confesses to Greg Thomas that it’s not easy to be hopeful about what lies in wait for our children and the planet

Katie Paterson’s Future Library is a dazzling conceit. One new text is written each year for a century, all of which are due to be published in 2114 using paper from a specially grown spruce forest in Norway that was planted in 2014. Each summer, a different author is commissioned to create a piece that expands the library. Crucially, their words remain unread until 2114. This year’s author announcement will be made at Edinburgh International Book Festival, which has adopted the ‘Future Library’ tag for a whole strand of its activities, including workshops on forestry and a video-streamed talk from Margaret Atwood (the first Future Library author) on the theme of practical utopias.

‘When I started Future Library, I was often asked about the future of books,’ Paterson tells me over a Zoom connection from her home in Fife. ‘There were all those discussions about e-readers, remember? And how we might read in future. But now the questions I find myself being confronted with are: will the human race survive until 2114? Will the forest survive? I don’t think anyone could have predicted the decade that has come. We’ve had the pandemic, we’ve got wars raging around the world, and the climate crisis has just deepened and deepened.’

Paterson’s work allows us to frame questions about the future existence of humanity, reflecting not only the peculiarly intense anxieties of our age, but the grand scope and scale of her practice. Responding to themes such as geological time and the dimensions of deep space, Paterson has consistently found ingenious ways of making more-than-human scales of existence tangible and engaging to audiences. A breakthrough work in 2007, ‘Earth-Moon-Earth (Moonlight Sonata Reflected From The Surface Of The Moon)’ used an automated piano to beam Beethoven’s ‘Moonlight Sonata’ to the moon and back. Subsequently, the artist has created a map of all the dead stars in the sky (‘All The Dead Stars’), a scented candle whose aromas correspond to a journey through the solar system (‘Candle: From Earth Into A Black Hole’), and a record player that turns at the planet’s speed (‘As The World Turns’).

In recent years, however, the Edinburgh and Slade-trained artist has found her attention inexorably drawn to the environmental and political crises engulfing our planet. As she put it in a 2022 interview ‘the older I get . . . the world that we’re creating: I can’t look away. Clearly, artists don’t live in a vacuum. We’ve always responded to the contemporary moment and ours is just so unbelievably potent.’ The most remarkable recent expression of this shift in her focus was the 2022 exhibition Requiem, at Edinburgh’s Ingleby Gallery. This consisted of 364 vials of geological deposits spanning the entire history of Earth (starting in the pre-solar era, over 4.6 billion years ago) to be poured into a large, hand-blown glass urn by visitors to the exhibition over the course of its run.

The post-1945 specimens included in Requiem formed a staggering, sobering index of the scale of damage done to Earth over a microscopic fragment of time. There was radioactive coconut shell from Bikini Atoll, coral from heat-bleached reefs, microplastic found in the Mariana Trench, rock from a nuclear-waste dumping site, and more. Geological time is collapsing before our eyes; or rather, under our influence. As an artist concerned with relationships of scale between human and non-human temporalities, is it scary to see these two axes of measurement collapsing in on each other?

‘It’s terrifying,’ Paterson confirms. ‘Future Library is a project for unborn generations. My son might read these works. But what kind of future will he or his kids be living through? Sometimes it’s difficult to be hopeful.’

We return to hope later in our chat, via the more humdrum matter of book festivals, and the eminent suitability of Paterson’s work in literary settings. Her projects have, after all, always tended to proceed from starting points in language. Emerging from the conceptual tradition, many of Paterson’s pieces are essentially relatable in single sentences, because that is the format in which they began.

In 2019, she published A Place That Exists Only In Moonlight, a book of her more impractically cosmic ideas: ‘Objects coated in gold/ extracted from/ shooting stars’; ‘A fountain drawing water/ from each ocean’s/ deepest point.’

Future Library is Paterson’s most obviously literature-adjacent work, with past contributors including some of the world’s best-known writers: David Mitchell (2016), Elif Shafak (2017), Han Kang (2019), Ocean Vuong (2020), and Karl Ove Knausgård (2022). Their brief is a strange one but some of them have called it liberating. Until publication day (by which point none of them will be alive), the writers’ work will be read by literally no one, stored in manuscript form in a specially designed room in Oslo Public Library.

‘There’s no magic circle,’ Paterson tells me, after I probe her for details on how secret ‘secret’ actually means in this context. ‘The authors are under oath; they have a legal obligation not to tell me or anyone what they’re writing. I’m always terrified when we come together for the presentation ceremony,’ she continues, laughing. ‘I just want to stay away from the manuscripts.’

These ceremonies, marking the handover of a completed manuscript, take place during the early summer each year, in the plantation where the trees for the library are being grown. When we speak, Paterson has just returned from this year’s event, where Mexican author Valeria Luiselli

collaborated with sound artist Leo Heiblum, who projected whale song, bird calls and thunderstorms onto the enveloping canopy around the tenyear-old spruce plantation. ‘It was really beautiful,’ Paterson says. ‘And at times quite apocalyptic.’

That increasingly seems the right word for those questions Paterson’s work is asking us. So, does she feel a responsibility to bring a measure of hope to audiences, or to provide tangible solutions to the climate and nature emergencies that could ultimately see our species wiped out? ‘The intention in a lot of my work is to widen our horizons, to provide a deeptime perspective that may be helpful as we try to change our ways. But it’s hard to feel that, as an artist, you’re going to be the one making the great changes. We are amongst a huge number of people trying to place our feet forwards and imagine different futures.’

Still, to engage with Paterson’s work is not only to grapple with despair but to learn of the myriad ways in which we could yet save ourselves and the planet. She has recently returned from Iceland full of excitement at discussions with scientists about new methods for re-greening the oceans (so cutting-edge they are still confidential).

Paterson also spent time on the Thórsmörk mountain ridge, the kind of environment which, she says, allows her to put a number of concerns in a wider perspective. ‘Within these vast landscapes, it’s possible to return to a sort of eternal time, reminded of just how ancient the earth is, and all the different seasons it’s been through. That picks me up again, being reminded of the more-than-human world . . . life will endure, in some form. It gives me hope.’

Future Library At 10, Edinburgh Futures Institute, 12 August, 6.30pm.

Future librarians (from top left, clockwise), Han Kang, Margaret Atwood, David Mitchell, Karl Ove Knausgård with Katie Paterson (far left), during the 2022 ceremony

PICTURES: KRISTIN VON HIRSCH

JENNY

DARA

CRAWLER

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SCOTTISH SEABIRD CENTRE

DALKEITH COUNTRY PARK

DUNBAR TOWN HOUSE MUSEUM

DIRLETON CASTLE

TANTALLON CASTLE

FRINGE BY THE SEA

BELHAVEN BREWERY

JOHN GRAY CENTRE

GULLANE BEACH

YESTER CASTLE

NORTH BERWICK

BASS ROCK LAW

COLD WAR SCOTLAND

Anyone who lived through even the briefest part of the Cold War will remember a feeling bordering on resigned certainty that everything was going to end in a nuclear holocaust. Despite a few close shaves, that didn’t come to pass (spoiler) but this exhibition will take many folk right back to those days, with artefacts such as CND earrings, protest rattles made from detergent bottles, a chunk of the Berlin Wall, and a scary/cool panel in a nuclear power station. (Brian Donaldson)  National Museum Of Scotland, 13 July–26 January.

VIVA

East Lothian by bus this summer. Plan your journey online today!

In 2024, our politicians are sadly still dehumanising migrants through hateful rhetoric. Artist Prem Sahib is looking at the damage those words can do, using the divisive figure of Suella Braverman as his show’s focal point. Rachel Ashenden talks to Sahib about his confronting multi-layered creation and ponders what the ex-Home Secretary herself might make of it

If you search ‘Suella Braverman anti-immigration policies’ on YouTube, you can lose yourself in a sea of hate speech. Videos of the former Home Secretary in the House Of Commons, at a Tory Party conference, and in press interviews are all there with some of her most controversial statements neatly edited into bitesize chunks. Comment sections have been switched off due to racist rhetoric spilling out from keyboards. There’s a ‘thumbs up’ and ‘thumbs down’ war going on as if this could capture everything we feel, think and believe in.

This is what I searched on YouTube before meeting Prem Sahib, a London-based artist whose emotionally charged installations and performances disrupt the private and public spheres. As well as having an outdoor site-specific installation called Liquid Gold running through August, Sahib will also present the Scottish premiere of their performance work, Alleus, at Edinburgh Art Festival. Originally cocommissioned by the Roberts Institute Of Art and Somerset House Studios, this iteration of Alleus will unfold around a staircase in the shadow of Edinburgh Castle.

Alleus spelt backwards is Suella. Cunningly, not only could the title be mistaken for ‘alias’, but it also nods towards the simplistic, spiteful rhetoric such as ‘send the boats back’ which has been repeated by the Tories. ‘By reversing, I feel like I am refuting the point of her words,’ reflects Sahib. But the artist is quick to point out that they wish to de-centre Braverman; they are firmly aware that she isn’t

HATE

the sole perpetrator of hate speech legitimised through party politics but, in this particular work, she is the chosen cipher. Through Alleus, we can recognise the damage caused when politicians speak ‘on behalf of the British people’ as they tell the story of immigration, often turning to outlandish natural disaster metaphors to dehumanising effect.

To create Alleus, Sahib collaged two of Braverman’s most infamous speeches together and treated them ‘sculpturally’ by manipulating the sound. The work combines live and pre-recorded voices to move from ‘legible language to something more abstract’. As spoken word transforms into song and culminates ‘with a blustery cacophony of words that emulate a hurricane’, Sahib shares that the work structurally mirrors Braverman’s address at the House Of Commons in March 2023.

In this particular speech, Braverman described immigration of the 20th century as ‘a mere gust compared to the hurricane that is coming’. The work is layered, having evolved from an audio piece into a performance, with additional speech material incorporated as it developed. While scouring the internet for more source material, Sahib stumbled across a clip of Nigel Farage and Priti Patel dancing and chanting along to Frankie Valli’s ‘Can’t Take My Eyes Off You’. Sahib turned this into the outro of Alleus

While sonically changed, Sahib never alters the words of Braverman’s speeches. The content guidance for the August performance warns that Alleus speaks ‘openly about racism, violence’ and features sounds of ‘xenophobic dialogue’. When I ask Sahib about how they look after themselves during the creative process, they describe Alleus as deliberately confronting.

East Lothian by bus this summer.

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‘There is sometimes a desire to tune out the language we have been living around,’ Sahib ruminates, adding that Alleus is ‘quite harrowing, but so are her words.’ By refusing to dilute Braverman’s words and their meaning, Sahib subverts the seduction of ‘political theatre’ and its accompanying complicity, a framework that the artist credits to sociologist Richard Sennett in his podcast Thinking Allowed Brexiteers, for instance, had ‘been had’ or tricked by Boris Johnson’s bumbling performance without understanding the consequences of leaving the European Union, and in doing so, were complicit.

Alleus could be framed as a protest work, but Sahib doesn’t interpret it that way. ‘For me, protest is directed more pointedly towards a specific goal or intention, and I would hope has far-reaching real-world consequences. But I do see the work as political.’ With arts organisations experiencing existential crises about what they can or cannot say, Sahib speaks about the ‘disparity between what an artist is trying to say and how an institution reacts in real-time’. The medium of performance offers Sahib an opportunity to respond with urgency and they are grateful to all the commissioners for creating space to do so.

There’s a pithy clip on the internet of Braverman describing how she hopes she annoys the Left, which is met by a wave of Conservative laughs. Were she ever to stumble upon Alleus, it’s intriguing to consider how she would respond to it.

Alleus, Castle Terrace Car Park, 16 August, 6.30pm; Liquid Gold, Bard, 9–25 August, 9pm–5am.

In the Prem league: (this page) Alleus; (previous page) what you need to know to get rid of these blood sucking parasites (in the form of a whisper); Liquid Gold

Sir John Lavery, Windy Day

collection. Photograph courtesy of the Richard Green Gallery, London.

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Discover East Lothian by bus this summer.

There’s twice the reason for Edinburgh Art Festival to pop the champagne corks this year. Major milestones include the whole event itself and its Platform initiative for artists starting out on their career. Neil Cooper caught up with curator Eleanor Edmondson to find out about this year’s chosen group and why the support network Platform creates is just as important as the art it produces

STEPPING

As Edinburgh Art Festival celebrates its 20th birthday, it also marks the tenth anniversary of Platform, the initiative set up to showcase early-career artists in a festival environment. This year’s cohort features four artists working across a variety of mediums who have been beavering away as August approaches.

Where Alaya Ang works with durational performance, writing and other forms, Edward Gwyn Jones focuses mainly on moving image, text and printmaking. Tamara MacArthur uses intricate handcrafted installation activated by performance, while Kialy Tihngang works with sculpture, video, textiles, animation and photomontage.

Selected by a panel led by EAF curator Eleanor Edmondson, this year’s Platform artists will respond to the 2024 festival’s themes of intimacy, material memory, protest and persecution. The results will be seen on the fourth floor of City Art Centre, which this year becomes EAF’s home: this puts Platform at the centre of the festival programme more than ever before. ‘The number of applications we received this year was incredible,’ says Edmondson. ‘I think that’s probably a sign that there aren’t enough opportunities for

Given a platform (from left): Tamara MacArthur, Alaya Ang, Edward Gwyn Jones, Kialy Tihngang

STEPPING UP

early-career artists, or it could be a sign that a lot of artists are moving to Scotland and making it their home, which I hope is the case.’ Edmondson says the successful artists were selected based on how they approached the festival’s themes and the ways in which they might connect.

‘I think all four artists are pivoting on emotion and that need for coming back together,’ she says. ‘In different ways, they’re all resisting that kind of new capitalist busy-ness and overstimulation that we’re constantly facing, and they’re all asking people to slow down a little and connect to intimacy, emotion and rest. I think that grounds them all together quite nicely.’

In terms of life beyond the Platform programme, alumni over the last decade include Renèe Helèna Browne, who came through the scheme in 2018 and has her own EAF solo show; Emelia Kerr Beale and Jonny Walker (2022) who exhibited as part of Glasgow International this year; while Saoirse Amira Anis (2022) has presented a solo show at Dundee Contemporary Arts.

As Edmondson explains, however, Platform is about more than just the work. ‘I think the act of artists meeting at a similar point in their career is crucial,’ she explains. ‘An important part of Platform is that you’re growing a

network and a support base. What’s really lovely is that the network just carries on building. It feels like there’s been a lot of peer support down the generations of Platform. That’s created a cohort of artists who speak to each other and support each other.’

This sense of empathy has enabled the artists to tackle some deeply challenging subjects. ‘The artists have shown huge skill in being able to broach the topics that they’re talking about with such care,’ says Edmondson. ‘There’s a willingness to be open in a way that is constantly evolving, and the way in which people check themselves against each other is strong this year.’

The artists are also embracing different forms of display, she says, and this year’s cohort will be performing at a number of events, including a closing night do on Friday 23 August. ‘The way the artists are gelling and the interlacing of themes feels really exciting. That’s something we definitely want to take forward in the future. It’s pushed the artists to think more as a collective group rather than single entities and I think the exhibition will benefit from it.’

Platform24, City Art Centre, 9–25 August.

ANDREW SIM

The Jupiter Artland Ballroom becomes a dreamlike forest filled with plants and trees covered by rainbows and starry skies. This New York artist creates a hallucinatory environment which succeeds in being both warmly familiar and weirdly uncanny. n Jupiter Artland, until 29 September.

CHRIS OFILI

The Manchester-born Turner Prize winner unveils The Caged Bird’s Song, a work in tandem with Dovecot’s master weavers for which Ofili’s watercolour designs were transformed into a vast tapestry.

n Dovecot Studios, until 5 October.

TAYO ADEKUNLE

In Stories Of The Unseen , historical narratives are challenged head on by this British Nigerian photographer; particularly under attack are ethnographic displays which fetishise black women’s bodies. n Edinburgh Printmakers, 27 July–10 November.

EL ANATSUI

This Ghanaian sculptor has worked across more than five decades but brings his work to Scotland for the very first time with an exhibition that will climax in an outdoor installation within Edinburgh University’ s Quad. n Talbot Rice Gallery, until 29 September.

VERMEER IN EDINBURGH

To help mark the bicentenary of the National Gallery in London, works are travelling to various institutions across Britain, with National Galleries Scotland receiving a spot of Vermeer. ‘A Young Woman Standing At A Virginal’ has been drafted in to accompany the Dutchman’s sole biblical work, ‘Christ In The House Of Martha And Mary’. n National Galleries Scotland: National, until 8 September.

MOYNA FLANNIGAN

A student at both Edinburgh and Yale, this Fife-born artist responds to Collective’s City Dome building on the occasion of the gallery’s 40th anniversary. This new set of work entitled Space Shuffle features a series of collages and paper sculptures. n Collective, until 15 September.

IBRAHIM MAHAMA

Another Ghanaian artist launches their debut Scottish exhibition with Songs About Roses, a set of work which will be supported on columns above Waverley station. This is a starting point tor Mahama to produce large-scale drawings and installations.

n Fruitmarket, 13 July–6 October.

We are for those who embrace new ways of thinking and want an education that helps shape a better future, for themselves and for the world.

ADJOA ANDOH

You may know her from Casualty or The Witcher and maybe even from Doctor Who during the glorious reign of David Tennant. But you’ll more likely know Adjoa Andoh as Lady Danbury, a key character across all three seasons to date of Bridgerton. Jackie Kay certainly knows her and has done ever since they were in their late teens. In this event, the pair chat about the beauty of long-term friendship, shared history and political activism. (Brian Donaldson) n Edinburgh Futures Institute, 25 August, 10am.

BOOKS

You might as well phone your friends and tell them the plot

” “

As Grant Morrison prepares for a wideranging talk at Edinburgh International Book Festival, Kevin Fullerton chats with Scotland’s master of comics about an alternative vision of Glasgow and why novel writing won’t earn them a fortune

In a Scotland where kitchen-sink realism reigns supreme, it’s difficult to escape the feeling that Grant Morrison’s specialism in superheroes, fantastical fiction and the counter-culture has left them under-appreciated in their home country. And as our wide-ranging discussion darted from The Jesus And Mary Chain to Robert Louis Stevenson, Glasgow’s Art Deco heritage to the feminine power of witchcraft, it’s easy to see why; the vein of Scottishness that fascinates Morrison has always been deeply suspicious of society’s straitjacketing norms.

‘The mainstream of Scotland has never been particularly friendly or welcoming,’ the Glasgow-born writer says. ‘There’s always been a sense that Scottish culture represents one kind of working-class life: it’s either the shipyard canteen in the 1930s or else it’s crime fiction. But we have this really strong tradition of the weird, from as far back as “Tam o’ Shanter” to James Hogg’s The Private Memoirs And Confessions Of A Justified Sinner, right through to Irvine Welsh and his embrace of the more grotesque aspects of human experience. There’s a stream of the Scottish imagination which is very bizarre and surrealistic, and it comes from a working-class way of thinking that’s rooted in witchcraft and magic.’

Where these works dovetail with Morrison’s is, in part, through their willingness to bend the strictures of reality away from hardnosed dialogues on modern living towards stories imbued with magical-realist sensibilities; this theme has existed from the very beginning of the comic-book mainstay’s career. ‘I got my start in two places in Scotland. One was Near Myths, which was an alternative magazine based in Edinburgh that let us aim stories at adults. At the same time, I got work at DC Thomson writing for their Starblazer series, which were science-fiction versions of the Commando books. I was getting the alternative on one side and being taught the basics of how to compose a story for a commercial publisher on the other.’

side. It’s a shifting Glasgow that I wandered when I was young. The city is a huge build-up of everyone’s experience. In the book, there’s a place called the Rendezvous Café which is based on a couple of locations in Glasgow where generations of people have met to form bands or fall in love. I’m interested in those systems and ideas that formed then disappeared, but somehow left traces all over the culture. I wanted Gasglow to be a way of preserving all of that.’

Merging a populous sensibility with Morrison’s unique blend of non-linear storytelling and philosophical preoccupations has made them a radical proposition in comics, placing them in the same bracket as Neil Gaiman and Alan Moore as writers who pushed the medium in bold new directions throughout the 1980s and 90s. Much like their peers, Morrison has straddled the mainstream of DC and Marvel while creating their own works, penning major scripts for Hollywood, games and television, and in 2011 publishing Supergods, an influential non-fiction meditation on superheroes. Given the longtail of their career, it’s surprising that it took until 2022 for this doyen of comic books to move into novels with Luda, the story of a drag queen in the fictitious Scottish city of Gasglow. ‘Honestly, as much as novels are wonderful, in a lot of ways you might as well just phone around your friends and tell them the plot. It’s certainly not the sort of thing you can make a living out of.’

Describing Gasglow as ‘the dream city’, there are hints of Alasdair Gray’s Lanark in its pursuit of a psychogeography that encompasses alternative elements of Scotland and what Morrison calls the country’s ‘feminine side, its witchy side, its weird

Much like Gasglow (which may feature in the writer’s future work), autobiographical elements of Luda weave through the narrative in search of universal truths. Case in point: Morrison was an avid participant in the 90s drag scene before feeling too old to participate. ‘The book had to be about an older drag queen no longer able to express that side of their personality in the same way and with the same effectiveness. It made me think of Merlin and his assistant who imprisoned him, the idea of a stupid old man giving up his power because he’s been flattered by beauty.’

For Morrison, drag became about the different selves that people present to each other, and as a metaphor for our social-media existence. ‘I think drag can be a metaphor for the magical seizing of control in a world where no one knows what’s real anymore. We can choose what to wear and how to tackle a life that has completely changed from 20 years ago.’ This is a radical repositioning of modern culture’s hyper-curated lifestyle from a writer who has spent their career injecting the popular with an intellectually charged punk spirit.

Grant Morrison (with Jane Flett) appears at Edinburgh Futures Institute, 10 August, 7.30pm.

ARE YOU SITTING COMFORTABLY?

Kick off your morning with this free daily series of storytelling sessions, featuring authors and famous faces such as Evelyn Glennie and Morag Hood.

 10–20, 23–26 August, 10am.

HIP HOP STORY STOP!

Storyteller Claire McNicol and dance instructor Fergus McNicol have joined forces to create a free, drop-in mash-up of dancing, singing and interactive storytelling, backed by hip-hop beats.

 10 August, 10am, 1pm.

Like books themselves, literature festivals aren’t just for grown-ups. Lucy Ribchester rounds up 20 highlights for young bookworms to enjoy this August

WELCOME WALL WORKSHOP WITH STEVEN CHATTERTON

Steven Chatterton, author of Adnan, a picture book about a courageous child refugee, is presenting an interactive workshop where kids can create their own ‘welcome wall’.

 10 August, 11.45am.

THE SUPER SUNNY MURDER CLUB WITH MAISIE CHAN, ELLE MCNICOLL, SERENA PATEL & HARRY WOODGATE

This anthology of mystery stories is aimed at 9–12 year olds with a thirst for suspense. Join three of the book’s authors, plus illustrator Harry Woodgate to find out how to craft your own mystery.

 10 August, 2.15pm.

SENSATIONAL SCIFI WITH ALASTAIR CHISHOLM

Kids’ stuff

Edinburgh author Alastair Chisholm is known for his wry, gender-subverting picture books. Now he’s penned a middle grade sci-fi tale, Reek, set in a future where oxygen costs money

 11 August, 2.45pm.

MAKE

A SUPERSONIC BEANO COMIC

Does anything scream ‘Scottish childhood’ more than The Beano? No. So pass on the baton and get your weans along to this event with Beano’s ‘Directors of Mischief and Mayhem’ as they live-draw a comic with audience help.

 11 August, 2pm.

PLANT TO PLATE POWER WITH DARRYL GADZEKPO AND ELLA PHILLIPS

Green-fingered or culinary-curious kids won’t want to miss this session featuring Darryl Gadzekpo and Ella Phillips, whose cooking adventures with their own children led to their book, From Plant To Plate

 11 August, 1.15pm

SILLY SMELLS WITH BREANNA J MCDANIEL

An ‘interactive workshop experience’ about flatulence sounds ominous. But Breanna J McDaniel’s Cute Toot picture book, about a gassy game of hide and seek, looks irresistible for young children.

 12 August, 11.15am..

BURDS ARE MEANT TAE FLY WITH EMMA GRAE

Scots author Emma Grae introduces her book The Hoolet Thit Couldnae Fly. Through a story about a missing bird, Grae is hoping to empower kids to use the Scots tongue.

 12 August, 2.45pm.

THE FRONT LIST: ALICE OSEMAN

Part of the Front List programme, Alice Oseman, author of the web comicturned-Netflix series Heartstopper, joins Lauren James to chat first loves, friendships and mental health.

 McEwan Hall, 13 August, 1.30pm.

GAELIC BOOKBUG WITH SCOTTISH BOOK TRUST

Scottish Book Trust’s much-loved Bookbug programme is presenting a special Gaelic series. Introduce babies to Gaelic songs and poetry, with no prior knowledge of the language needed.

 14 August, 10am, 11am.

JOURNEY THROUGH UK HISTORY WITH LISA WILLIAMS

Edinburgh’s Lisa Williams is known for her outstanding Black History Walking Tours. Now she’s authored The Big Book Of UK History for ages 6–9, covering everything from Hadrian’s Wall to bagpipes.

 18 August, 10am.

AINT NO PARTY LIKE A GRIMWOOD PARTY! WITH NADIA SHIREEN

Nadia Shireen’s hugely acclaimed Grimwood series invites you into its weird and wonderful world. Discover the latest instalment, plus have a go at creating your own crazed cartoons.

 18 August, 10.45am.

OUT OF THIS WORLD WITH MICHAEL ROSEN

Children’s fiction legend Michael Rosen has penned over 150 books. He’s presenting poems from his new collection, Out Of This World, but has also promised a few old favourites too

 18 August, 1.30pm.

A COLOURFUL CELEBRATION WITH DEAN ATTA

Award-winning poet Dean Atta debuts his picture book for ages 3–6. When little Ari discovers a piece of pink confetti behind her sofa, her world bursts into colour.

 24 August, 11.15am.

POETS FOR PEACE

A line-up of acclaimed poets, including former Makar Jackie Kay and Instagram star Nikita Gill, use the power of words to emphasise the importance of peace.

 24 August, 1.30pm.

FORGOTTEN JELLYBEANS AND BEAUTIFUL DAYDREAMS WITH ALEX WHARTON

Children’s Laureate for Wales, Alex Wharton performs poetry, songs and rap from his various collections, along with offering top tips on how to start writing your own poems.

 25 August, 10am.

RAINBOW PARADE WITH ELMER THE ELEPHANT

Panto superstar Mama G invites the whole family to dress in rainbow colours and enter the world of iconic patchwork elephant Elmer, for this storytime that celebrates being yourself.

 25 August, 11.30am.

DELVING INTO DISCWORLD WITH RHIANNA PRATCHETT & GABRIELLE KENT

Video game writer Rhianna Pratchett (daughter of Terry) is joined by Gabrielle Kent, author of Tiffany Aching’s Guide To Being A Witch, to explore the witches of Discworld

 25 August, 12.15pm.

DRAWING WITH JARVIS

Jarvis, the author behind the beloved Bear And Bird series, talks about the inspiration for his latest instalment, as well as sharing tips for budding illustrators.

 25 August, 2.45pm.

All events at Edinburgh Futures Institute unless stated

BOOKS HIGHLIGHTS

JOELLE TAYLOR

The award-winning poet published her debut novel this year. The Night Alphabet is a story of one woman’s resilience and starts in a London tattoo parlour in the year 2233. Here, Taylor discusses shifting between different literary forms.

n 11 August, 3.15pm.

JAMES BALDWIN CENTENARY

Chitra Ramaswamy, Caleb Femi, Colin Grant and Andrés N Ordorica all read from work by the iconic author who was born 100 years ago this August, and discuss how he inspired and influenced them.

n 11 August, 7pm.

SALMAN RUSHDIE

Two Augusts ago, the Satanic Verses author almost lost his life during a knife attack at a book reading. Understandably, he attends this event remotely with Mishal Husain and guests live on stage.

n McEwan Hall, 17 August, 5.30pm.

FERN BRADY

A class stand-up and now a bestselling author (who counts Bob Odenkirk among her new fans), Bathgate’s Brady talks about her unflinching and painfully honest memoir, Strong Female Character n 21 August, 9pm.

MONA CHALABI

This Pulitzer Prize-winning data journalist tells us how numbers can get people thinking about stories which they might otherwise block from their minds. She talks here about how this has shaped her own reporting on Gaza.

n 23 August, 5pm.

CHIGOZIE OBIOMA

Booker-shortlisted twice, this writer has been dubbed the new Chinua Achebe and is in town to chat about his new novel, The Road To The Country , set during Nigeria’s civil war. n 17 August, 12.15pm.

RITA BULLWINKEL & ELISA SHUA DUSAPIN

Two authors to keep an eye on in the future chat about their new novels, which are both set in rings. Bullwinkel (pictured) writes about female boxers in Headshot while Dusapin heads to the big top in Vladivostok Circus.

n 22 August, 7pm.

TIMESTALKER

Mashing up several genres, Alice Lowe’s latest film is a historical sci-fi romcom. Writing, directing and starring in the movie, Lowe travels across several time periods as Agnes, who goes from being a weaver in the 1680s to becoming obsessed with a pop star in the 1980s, all the while trying to break this era-spanning cycle. The excellent cast also includes Aneurin Barnard, Tanya Reynolds, Jacob Anderson and Nick Frost. (Brian Donaldson) n Cameo Picturehouse, 17 August, 6.30pm, 6.50pm; Summerhall, 18 August, 4.45pm, 21 August, 3.30pm; 50 George Square, 19 August, 6.45pm.

IN ASSOCIATION WITH

PLAY TIME

In her new documentary, Sophie Fiennes gets rare access behind the scenes of lauded theatre company Cheek By Jowl as they workshop a new Macbeth. She talks to Eddie Harrison about trying to break down the mysteries of acting

Shot in just 11 days, Acting is a real passion project for filmmaker Sophie Fiennes, best known for her Grace Jones documentary Bloodlight And Bami and for her popular Pervert’s Guide To . . . series (another instalment is currently in production). Back in the summer of 2021, Fiennes documented the rehearsal process of theatre company Cheek By Jowl, namely artistic director Declan Donnellan alongside designer Nick Ormerod, as they workshopped Macbeth with eight young actors. The end result gets a world premiere at this year’s Edinburgh International Film Festival.

‘I first saw Macbeth when I was 11, with Dorothy Tutin and Albert Finney; it was amazing,’ recalls Fiennes. ‘I was stunned at the end when I saw his head carried on a spike around the stage, and I thought “what grown-ups watch is so weird”. I have a fascination for how Declan and Cheek By Jowl work with actors and I’d read their book, The Actor And The Target. My brother Ralph had one of his first gigs for them, playing Romeo in Regent’s Park Theatre, which I saw when I was 18, and I’d sat in on rehearsals for Othello. Their process really fascinated me.’

That creative process is usually a fiercely protected thing; Fiennes’ first task was to get permission to capture the workshops on film with the staging taking place in Twyford Abbey, a derelict gothic mansion outside London. ‘I initially approached them in 1999 and Declan said it was too fragile; there’s no way there could be a camera there, he would be paralysed,’ states Fiennes. ‘But I think he wanted to make a document or record of his work, and I like to make documentaries that capture the way things are before they disappear. Lots of people don’t understand how actors work, it’s a mystery. I think Cheek By Jowl would say that they evolved by working with actors, having experience gathered over 70 years so it’s an accumulation. And they’re

so good at cutting through crap. The vulnerability and weakness of Macbeth is so intriguing to me, the assumption that he’s fuelled by ambition; what Declan says in the film is that what people say about themselves is not necessarily the same as how they actually are.’

Fiennes acted as her own self-shooter camera-person to capture 64 hours of footage: ‘I wanted the actors to realise it’s not a camera, it’s Sophie, and to find a way of making them feel confident about your presence.’ As producer and editor, Fiennes then reduced that raw material to a two-hour documentary film. ‘My job is to create an illusion which destroys delusion,’ Donnellan says at one point, and the same might be said for Fiennes’ illuminating film.

‘You might think that acting is about language, meaning and character, but all of that is so less important than where you are in the space,’ notes Fiennes. ‘He’s very concerned with what he calls being horizontal: putting the actors at ease and setting up the groundwork for his relationship with them . . . actors are often keen to please the director, but Declan is very keen to dissolve that.’

The final part of the process for Fiennes is getting the result in front of an audience. ‘I like that immediacy. The emphasis is on showing the process and not just talking about it; there’s something fantastic about seeing that process, about seeing that emergence. It has to be a vocational thing to make these types of films, in the tradition of observational documentary.’

Acting, Summerhall, 18 August, 7.15pm; Cameo Picturehouse, 20 August, 3.15pm; 50 George Square, 21 August, 6pm.

She’s not just a badass from page one “

Romulus marks a new chapter in the long-running Alien sci-fi franchise. Director Fede Álvarez tells Katherine McLaughlin about creating a new female lead character and how a deleted scene from the 1986 sequel inspired his own take

T‘his is a filmmaker franchise,’ states Uruguayan director Fede Álvarez as a reason why he tossed his hat into the ring for the ninth Alien film (if you count the crossovers and prequels) 45 years after Ridley Scott’s masterpiece first wowed cinema audiences. ‘In hindsight, even though [David] Fincher was a new director, you know it was the Fincher one, the Jean-Pierre Jeunet one or the [James] Cameron one. They all brought something different and their own styles, and that is what makes this franchise so special.’

Álvarez, who is predominantly known for his tense horror films including an reboot and , writes and directs an entry which, chronologically, sits in between Alien and . The film opens the new Midnight Madness strand at Edinburgh International Film Festival and, with Álvarez’s proven horror credentials, it seems a fitting choice. Inspired by a deleted scene in Aliens where Newt (Carrie Henn) and a group of kids are seen running around the colony, Álvarez came up with his idea. ‘I remember thinking about what it would be like for teenagers to grow up in a colony so small and what would happen to them when they reached their early 20s.’

learn from that,’ says Álvarez. ‘There’s a lot of interesting choices in how they built Weaver’s character in the first film, and in the second film it’s a pleasure to watch her. Ripley is an incredible character but what we didn’t try to do was recreate her. I think that would be a mistake. Our lead character is more similar to Sarah Connor in The Terminator than Ripley. There is a character evolution; she’s not just a badass from page one which I think is an unconvincing trend in modern movies.’

The terrifying creature in Aliens had a huge impact on Álvarez, who first watched it on VHS at around 12, and he mostly sticks with the practical effects and HR Giger’s biochemical art. On board is the team who created and designed the Xenomorphs, Richard Taylor who came up with the facehugger concept, and Alec Gillis who was responsible for the chest-burster effects. ‘You never get to see in the other movies what happens with the alien and how the chest-burster goes from that little thing running around to a fully formed creature, so we thought it would be interesting to explore that. We respect the original designs but have gone into more detail with how the colour of the creature changes.’

Cailee Spaeny (who has recently made waves in Sofia Coppola’s and Alex Garland’s Civil War) takes the lead role of Rain Carradine, and is joined by a young ensemble cast including David Jonsson ( , Rye ) who plays her synthetic brother, Archie Renaux as her ex-boyfriend and Isabela Merced who plays his sister.

With Sigourney Weaver’s Ripley such an iconic figure in the sci-fi film canon, it’s difficult to imagine anyone taking her place. ‘If you rewatch Alien today, the script takes so many risks and, in our movie, we tried to

Produced by Ridley Scott, who has given Álvarez’s Alien entry his blessing, it also looks to the iconography of ancient mythology, as did Scott. ‘There’s an image of the she-wolf and the twins from Romulus and Remus in the trailer. And that mythology is tied to a lot of things in the movie about harvesting the power of a different species,’ explains Álvarez. ‘Also, if you take away the horror and effects, it’s the dynamic between Rain and her brother that will keep you watching.’

Alien: Romulus, Cameo Picturehouse, 15 August, 11.59pm.

SINCE YESTERDAY

Subtitled ‘The Unsung Pioneers Of Scottish Pop’, this featurelength documentary celebrates the songs, stories and journeys of Scotland’s all-girl bands from 1960 to 2010. The sharp-ofmemory will recognise the title as a Strawberry Switchblade tune.

n Cameo Picturehouse, 21 August, 9pm, 9.20pm.

JOY DANCER

Born in Soweto during apartheid, Gregory Maqoma fought the odds to become a globally renowned dancer and choreographer. This documentary tells his story and links it to the first South African choir to visit Britain in the 1890s.

n Edinburgh Futures Institute, 19 August, 3.30pm; Cameo Picturehouse, 19 August, 9.15pm.

THE UNTOUCHABLES

No Edinburgh Film Festival is truly complete without a touch of Mr Connery, so here is Brian De Palma’s 1987 crime movie which follows the attempts of Eliot Ness (Kevin Costner) in bringing Al Capone (Robert De Niro) to justice.

n Edinburgh Futures Institute, 18 August, 7pm.

FUGA

Set deep in the Peruvian Amazon, Saor, an androgynous young Indian, has come to attend the funeral of their lover, transgender singer Valentina. She’s being buried with many secrets that Saor is keen to uncover.

n Cameo Picturehouse, 16 August, 11am; Summerhall, 17 August, 3.50pm; 50 George Square, 18 August, 1.15pm; Edinburgh Futures Institute, 20 August, 1.15pm.

THE SUBSTANCE

Demi Moore, Margaret Qualley and Dennis Quaid star in this body horror flick from Coralie Fargeat. When a TV aerobics star is unceremoniously dumped for being too old, she takes up a lab’s offer to inject a miracle liquid which will make her ‘perfect’.

n Cameo Picturehouse, 20 August, 11.59pm; Edinburgh Futures Institute, 21 August, 3pm.

A SUDDEN GLIMPSE TO DEEPER THINGS

Mark Cousins’ latest film is an exploration of Scottish painter Wilhelmina Barns-Graham and her synaesthesia which led her to associate letters, names and people with particular colours. Tilda Swinton provides the voice of the artist.

n Cameo Picturehouse, 21 August, 1pm.

SUNLIGHT

Nina Conti stars in her directorial debut in which she disguises herself in a monkey costume to escape an abusive relationship, striking up a unique partnership with a suicidal radio host played by the Pajama Men’s Shenoah Allen.

n Cameo Picturehouse, 17 August, 9.15pm; Edinburgh Futures Institute, 18 August, 9.30pm; 50 George Square, 19 August, 9.30pm; Summerhall, 20 August, 1pm.

LUKE ROLLASON

If you’re going to secure a first major TV role, let’s hope your character has a cool name. In Extraordinary, Luke Rollason plays a guy called Jizzlord. Could be worse . . . maybe? Anyway, he ploughed on to make a success of that Disney+ show and

Pleasance Dome, 31 July–25 August, 7.10pm.

IN ASSOCIATION WITH is now back at the Fringe for another spot of clowny physical mayhem. And when you have that Fringe show, it’s always advisable to give it a nice snappy, unforgettable title. Such as Luke Rollason, Luke Rollason, Let Down Your Hair. OK then. (Brian Donaldson)

PICTURE: DYLAN WOODLEY

FLOATING POINTS

Edinburgh’s very own physicist-turned-magician Kevin Quantum is back with a show that sets out to defy gravity while keeping the focus on wonder. Lucy Ribchester chats with him on Zoom while attempting to maintain her own equilibrium

ravity is something we take for granted; it’s what literally keeps our feet on the ground. But what if, gradually, it started to disappear?

Gstudent in 2005 when he trained with Penn And Teller as part of Channel 4’s Faking It. His previous show Momentum culminated in a flaming Newton’s Cradle. But science does have its limitations, he says, when it comes to being comfortable with the notion of wonder.

What if one moment a five-pound note could levitate, the next a human? That was the starting point for Kevin Quantum when he began creating his latest magic show, Anti-Gravity. ‘This new cutting-edge science was talking about anti-matter, anti-gravity and the reverse of what we have in our day-to-day world,’ former physicist Quantum says over Zoom. ‘Gravity makes an object fall down but anti-gravity makes the same object fall up, which is theoretically true.’

‘I sometimes get frustrated with the way wonder is treated with so little respect in education. Like a science communicator will often say “hey, look at this really cool thing that looks like magic; but no, look, it’s science”. And they show you how it works, and instantly take away that moment someone should have to think about it and consider it and chew it over.’

Quantum believes magic has the power to fill the space between wonder and explanation. ‘I think if you constantly show someone something, and then give them the secret straight away, you’re standing on a lot of the things that make it interesting.’

For the production’s first outing, Quantum set out to build an ‘anti-gravity machine’ that grew stronger as the show progressed. It was, he says bluntly, a ‘frivolous, light-hearted show’ in which increasingly heavy objects were lifted into the air. But as Quantum (also known by his real surname, McMahon) delved deeper into the subject, his ideas matured.

He found himself wondering what happens to the brain when the body is sent into space. While research shows that astronauts’ muscles atrophy if not worked rigorously, Quantum is interested in what occurs inside their heads: ‘what happens to your blood cells or your brain molecules when there’s no gravity there to hold them down?’ Science has always informed Quantum’s interactions with magic. He was still a physics PhD

Magic and wonder, however, can only go so far when it comes to the physical practicalities in some of his anti-gravitational tricks. ‘There’s this really annoying thing I’ll let you in on,’ he confides. ‘For me to be able to levitate at the end of the show, I need to be below a certain weight.’ Of course he won’t say how it’s done. ‘But I have to be below 88 kilograms. I know . . . it’s a weird number. Like Back To The Future.’

Kevin Quantum: Anti-Gravity, Gilded Balloon Patter House, 31 July–26 August, 2.30pm.

PICTURE: GEEBZ

Aiming to save the planet one show tune at a time, West End star Janie Dee brings an eco-tinged cabaret to this year’s Fringe.

Marissa Burgess gets the lowdown

Cabaret and green politics aren’t obvious bedfellows, but Janie Dee is hoping to change that perception.

The award-winning actor, singer and musical-theatre performer started London Climate Change Festival in 2020 after an epiphany about how much she personally wasted, and her Fringe show feels like a natural progression.

Janie Dee’s Beautiful World Cabaret promises music from the eclectic likes of Sondheim, Sting, Peggy Lee and Vivaldi; but Dee is intriguingly tight-lipped about any further information on the content or the motivation. ‘I tell the whole story in the show and mix it up with some stunning songs and a very particular passage of Shakespeare . . . but I refuse to tell you more! Cabaret is about danger, spontaneity and communion with the audience. You should never know what is going to happen next.’

GREEN ROOM

3 To See Burlesque

A ‘burlesque Shrek’ sounds genuinely terrifying but this is what Swamplesque (Assembly Hall, 1–25 August, 10.20pm) pretty much amounts to. Australia went wild for this earlier in the year and there’s nothing to suggest Edinburgh won’t follow suit. The show is both a homage to the loveable ogre and his pals, and a strong statement about body image in the burlesque genre. Music cabaret night Blues And Burlesque (Voodoo Rooms, 2–25 August, times vary) introduces us to the showgirl sauce of Belle de Beauvoir who ushers onto her stage some top cabaret acts on the Fringe. Dexys keyboard guy Pete Saunders is on hand with musical accompaniment. Selena Mersey (Underbelly Cowgate, 13–25 August, 6.40pm) has been boning up on a bit of Freud recently, with this ‘professional overthinker’ coming up with her Madonna/Whore show on the back of all that hammering of the books. A filthy feminist musical burlesque odyssey is promised.

But there are other aspects of her hour that are guaranteed: Dee aims to change your whole outlook on life and the environment. ‘You can expect information and inspiration and to leave the theatre feeling very different and empowered,’ she insists. ‘I have spent a lifetime developing my relationships with the greatest writers and composers who have become more than colleagues . . . their work is what I draw on for this show and my own now-developing knowledge of trying to live closer to, and in harmony with nature.’

It’s certain that you’ll be doing way more than just half-heartedly washing out the recycling by the time Janie Dee and friends are finished.

Janie Dee’s Beautiful World Cabaret, Pleasance Dome, 31 July–26 August, 2.20pm.

Swamplesque

Another swathe of newcomers are offloading their fresh material into audience’s ears and down towards their funny bones for 2024. Here we give a mere 24 of them a chance to sell us their show in, you guessed it, precisely 24 words

STARTUPS

Clockwise from top left: Abi Clarke, Alex Kitson, Alexis Gay, Amy Mason, Bella Humphries, Derek Mitchell, Freya Mallard, and centre, Amy Annette

PICTURE: JAMES SMILEHAM

PICTURE: MATT STRONGE

PICTURE: LUCY RIDGES

PICTURE: MICHELLE HUGGLESTON

Don’t miss the best new talent from our up at the Fringe

View our full programme and access performances

ABI CLARKE

Abi Clarke went viral overnight and now people want something from her . . . something she’s not sure she can offer. Let her tell you why.

n Pleasance Courtyard, 31 July–25 August, 7.40pm.

ALEX KITSON

I’m a multi-award-winning comedian with a secret. Expect hilariously high-octane stand-up about resilience and the story I swore that I’d never tell . . . until now.

n Hoots @ Potterrow, 2–25 August, 10.55pm.

ALEXIS GAY

DEREK MITCHELL

Derek Mitchell (Ted Lasso) wants to belong in the UK and onstage. Stand-up and characters showcasing his offline comedy chops and weird immigrant identity.

n Pleasance Courtyard, 31 July–25 August, 10.50pm.

FREYA MALLARD

A show about working in tech and one specific 4pm meeting at a company we’ll call . . . Redacted. Be warned: the devil’s in the emails.

Teen mum Freya (a woman in her mid-twenties) is on a mission to bounce back with her debut stand-up show. Postpartum? More like postpartFUN!

n Underbelly George Square, 31 July–25 August, 4.20pm.

n Pleasance Courtyard, 31 July–25 August, 4.35pm.

AMY ANNETTE

Y2K is back baby! The fashion! The body shaming! The celebrities (J.Lo never left)! I’m here as a Millennial Terminator to save you all!

n Pleasance Courtyard, 31 July–25 August, 4.25pm.

AMY MASON

GRACE MULVEY

Bottomless brunch survivor. Confused Retinol user. Pretend gnocchi lover. Inheritor of the most humiliating generational trauma: foot trauma. Grace Mulvey is a tall baby.

n Assembly Roxy, 31 July–25 August, 7.05pm.

HENRY ROWLEY

Amy leaves her sofa and stands up for an entire hour in a pathetic attempt to make you happy. What more could you want?

Sketches, characters and stand-up that will make you go like this: ha ha ha ha ha ha ha ha ha ha ha ha ha.

n Pleasance Courtyard, 31 July–26 August, 8pm.

n Pleasance Courtyard, 31 July–26 August, 7.30pm.

BELLA HUMPHRIES

IAN LOCKWOOD

Want to hear about some of the worst times of my life? Brilliant! A show about culture clashes, family dynamics and unapologetic period jokes!

n Just The Tonic At The Mash House, 1–25 August, 6.10pm.

A raucous, hilarious concert of unhinged comedy music in which the world’s biggest pop star (Ian Lockwood) kills himself in a blaze of glory.

n Underbelly George Square, 31 July–26 August, 10.20pm.

Clockwise from above: Grace Mulvey, Henry Rowley, Ian Lockwood, Kemah Bob, Isabella Charlton

PICTURE:

ISABELLA CHARLTON

A dark affair between my father and the family’s nanny rocks my world and impacts all my relationships; plus more shocking family secrets emerge.

n Gilded Balloon Patter House, 31 July–25 August, 9.40pm.

JACK SKIPPER

One of Checkatrade’s finest comedians offers some insights into the endeavours of an uneducated, working-class carpet-fitter, who’s struggling to navigate his way through life.

n Pleasance Courtyard, 31 July–25 August, 8.20pm.

KATIE GREEN

¡Ay Mija! is an ode to womanhood, my Latin culture, and me justifying my childhood dream of throwing myself my dream quinceañera at 30!

n Pleasance Courtyard, 31 July–25 August, 9.35pm.

KEMAH BOB

Accompany me on a raw, silly and wild ride to my own personal hell and back. Expect OMG, WTF and YOLO without the FOMO.

n Pleasance Courtyard, 31 July–25 August, 7.05pm.

MILANKA BROOKS

We all have unbeatable parent stories. We’ve experienced their flaws and flawlessness in good and bad ways. My show celebrates them all. Meet Lela!

n Assembly George Square, 31 July–25 August, 2.50pm.

MUSTAFA ALGIYADI

I reflect on the European way of life through the lens of a Libyan Arab and my quest for a better passport. Meditation included.

n Just The Tonic Nucleus, 1–25 August, 4.30pm.

OTTER LEE

I have bad relationships with boyfriends and my father, but like every Disney princess, I sing through my traumas. A gaysian fairytale with songs!

n Just The Tonic At Cabaret Voltaire, 1–25 August, 3.30pm.

RAHUL SUBRAMANIAN

It’s my first time at Edinburgh Fringe and will be your first time seeing me. What a crazy coincidence, right? Hope I’ve convinced you!

n Assembly George Square, 31 July–25 August, 6.25pm.

Clockwise from top left: Katie Green, Jack Skipper, Otter Lee, Mustafa Algiyadi, Milanka Brooks

SARAH ROBERTS

What ties together Candy Crush, double-jaw surgery, a DNA test and Paul Mescal? The debut stand-up hour by the hot and talented Sarah Roberts.

n Assembly George Square, 31 July–25 August, 10.35pm.

SUMUKHI SURESH

I am 36, hormonal, failing at dating and can’t bear children. I might have a breakdown on stage. COME IT WILL BE SO FUN!

n Pleasance Dome, 31 July–11 August, 9.40pm.

WILL OWEN

I can name every Loose Woman but I’ve never had one boyfriend. Camp, offbeat stand-up from a life lived in front of the box.

n Assembly George Square, 31 July–25 August, 10.20pm.

WILL ROBBINS

Expectation: we’re going to spend an hour with the best Will in the world! Reality: he wasn’t even the best Will in the room.

n Pleasance Courtyard, 31 July–25 August, 6pm.

ZOE BROWNSTONE

Canadian comic Zoe Brownstone is hungry for romance, the drippy kind you need several napkins for. Come watch her mop up her latest disaster.

n Pleasance Courtyard, 31 July–23 August, 7.15pm. >>

Anti-clockwise from above: Zoe Brownstone, Rahul Subramanian, Will Robbins, Sarah Roberts, Sumukhi Suresh, Will Owen

PICTURE: RAPHAEL NEAL

QUIRK STATION

Harriet Kemsley has had a turbulent time of late, but she hopes things can only get better. The comic chats to Marissa Burgess about parental encouragement, quirky influences and the slow pace of change after #MeToo

They often say that there’s humour to be found in tragedy.

Harriet Kemsley’s show this year, Everything Always Works Out For Me, is that very notion in action. She’s split from her husband (fellow comedian Bobby Mair) and, possibly more traumatising, failed miserably when she appeared on Celebrity Mastermind. ‘Things have gone so completely off plan that the show has kind of written itself,’ she says. ‘So many ridiculous things kept happening that I knew would be funny with some hindsight . . . at least for other people! It’s about trying to stay positive when absolutely everything is falling apart. Dating again in my 30s in a whole new landscape. I think it’s definitely going to be my funniest show, despite all the disasters.’

Kemsley has been an acclaimed presence on the comedy scene for well over a decade now. While it feels like she was born to it, she did start off attempting serious acting. Although admitting to being very shy, Kemsley reckons it gave her a proper chance to express herself.

‘I thought I was going to be a serious actor, but every time I did it people laughed. My parents were watching Live At The Apollo one night and they said I should give it a go: I’ve yet to meet anyone else whose parents have suggested that. Other parents seem to have much higher expectations for their children. Mine were like “I guess this is her best option!” But I tried and got hooked. It gave me a way of connecting with people, and was a

huge relief as I was terrible at every other job.’ Her influences back then were suitably quirky, with Kemsley’s own off-beat style helping her get noticed.

‘When I started, I loved Emo Philips; his jokes were perfect and he seemed like a magical person. Then I discovered Maria Bamford; she’s one of the best stand-ups around, completely herself, so honest and funny. I also really love Nate Bargatze. I started at the same time as Kate Lucas and I was completely blown away. She wrote a very funny song for my wedding about all the times I’ve nearly died.’

Last time Kemsley was at the Fringe with a completed show was in 2018, the year of a disturbing (but necessary it now seems) amount of #MeToo works by female comedians. Slutty Joan was her own, in which she denounced the slut-shamers. Has much changed in the years since? ‘There’s still a long way to go. I did my first ever gig last month that happened to be all-women. It wasn’t a special women’s day or a charity gig, it just by coincidence happened to be all women and that was fantastic. We danced like crazy in the bar afterwards; a very different vibe to the predominantly male comedy green rooms when I started.’

Harriet Kemsley: Everything Always Works Out For Me, Monkey Barrel, 31 July–12 August, 6.10pm.

HOUSE OF OZ

Presents the 2024 Season

Comedy | Family THE LISTIES ROFL

Comedy | Music | LGBTQ+ | Adult DANCEFLOOR CONVERSION THERAPY

Jonny Hawkins

Theatre PLENTY OF FISH IN THE SEA

Clockfire Theatre Company

Comedy | Music | LGBTQ+ | Adult DOWN UNDER: THE SONGS THAT SHAPED AUSTRALIA

Michelle Pearson

Dance | Theatre | Circus OF THE LAND ON WHICH WE MEET

Na Djinang Circus

Theatre | Comedy SUMMER OF HAROLD Ensemble Theatre Company

Learn more BOOK NOW

Edinburgh Festival Fringe 2024 CELEBRATING AUSTRALIAN CREATIVITY

Theatre THE STATE OF GRACE

Michaela Burger

Comedy | Cabaret THE UNBURDENING OF DOLLY DIAMOND

Dolly Diamond

Dance TRIPTYCH

Lewis Major

Theatre | Comedy YOZI: NO BABIES IN THE SAUNA Yoz Mensch

Dance | Theatre | Circus

LIEN

Lewis Major

Dance | Circus TEN THOUSAND HOURS

Gravity & Other Myths

Australian stand-up Josh Thomas is happy to be leaving Los Angeles after seven years. ‘I find people in LA really annoying,’ he says. ‘I don’t like most Americans. At any party, they’re telling you about their five-year plan and they’re taking G, not because they’re hardcore into drugs but because it’s less calories than alcohol . . . but,’ he gestures helplessly around a room strewn with objects, ‘it doesn’t have to look this bad does it? I know I’m packing. There doesn’t have to be dead flowers.’

Before he resettles in Melbourne, the 37-year-old will be making his full Edinburgh Fringe debut, a rather late bow for a comic who came to the Festival in 2005 as a So You Think You’re Funny? finalist, yet has since attracted international acclaim for his TV series Please Like Me and Everything’s Gonna Be Okay, both of which he created and starred in.

His Fringe show, Let’s Tidy Up, is about ‘one time, two years ago, when I tried to tidy the house,’ he explains. ‘Which doesn’t sound like the highest stakes. But me being untidy fucks me every single day of my life and will fuck me forever.’ His ADHD was diagnosed, insensitively, as ‘incurable’. He smiles at the memory. ‘This poor psychiatrist said one wrong word once, like nine years ago, and now I’m doing an international tour about it! Really it’s about the fact that everyone has something incurable about them. Should we just accept what’s shit about us?’

The stage feels safer to me than a barbecue

It seems faintly astonishing that Australian stand-up Josh Thomas is only making his full Fringe debut this year, given he was a finalist in So You Think You’re Funny? almost two decades ago. But TV success, an autism diagnosis and a move to the US got in the way. He talks to Jay Richardson about irritating Americans, a shooting incident and his in-demand sperm

Standing out recently in the Australian version of Taskmaster (‘I got the lowest score in the history of all the English-speaking versions’), comedy helps Thomas be himself. He still struggles in big groups socially but fans appreciate his ‘particular brand of weird. Since I started at 17, stand-up was a way of getting five minutes of space to explain my point of view. The stage feels safer to me than a barbecue.’

An adventurous gourmand, who has consumed fish testicles and counts ground spicy crickets among his favourite delicacies, Thomas was only diagnosed autistic at 33, midway through writing Everything’s Gonna Be Okay, a sitcom largely about autism. In a case of art reflecting life, his character was belatedly diagnosed in the second series too. Often surprised by things that people want to keep secret, he’s polyamorous, describing monogamy as a ‘creepy life choice to make’, and recalls being turned off a date in LA when a gunman appeared. ‘Everyone else on the patio ran into the restaurant; there was just me and this boy and we dropped to the floor. And I realised it wasn’t going to work between us because if I wasn’t in love with him on the floor of an active shooting, I wasn’t ever going to be. The gunman was tasered: he’d been shooting BMWs outside a synagogue I think.’ Not lacking in confidence, Thomas has nevertheless resisted four entreaties for sperm donation: ‘two heterosexual girls and two lesbians, one of them very seriously and three sounding me out. I do well in spite of my genes, we don’t need them spread around. One girl wanted to cash in this pact that if we hadn’t had children by the time we’re 40, we’ll have children together. No babe, that’s not a binding contract. No one’s getting my sperm. Well, a bunch of people are; but nowhere near uteruses.’

Josh Thomas: Let’s Tidy Up, Pleasance Courtyard, 31 July–25 August, 6.20pm.

3 To See Double Acts

Two heads are better than one in Edinburgh, right? But what about Two Hearts (Pleasance Courtyard, 31 July–25 August, 11pm)? In this case, Kiwi couple Laura Daniel and Joseph Moore are laying on a late-night affair in which they banter around and sing songs about life, love and joint bank accounts. Til Death Us Do Hearts is their shot at glory. Seasoned pros Jojo Sutherland and Susan Morrison are at the point in their lives that not giving too many hoots or caring not a jot is par for the course. Here they aim to prove that this still means delivering the comedy goods with The Fannies One Night Stand (The Stand 3, 12, 19 August, 7.10pm), even if they’re actually performing over two evenings. All will be forgiven as long as they leave a room shaking with laughter. Arthur Smith & Phil Nice (Pleasance Courtyard, 2–18 August, 2.30pm) have also been around the stand-up block several times over. The former dubs this show as a cross between ‘Waiting For Godot and Morecambe & Wise’. Sounds utterly unmissable.

Two Hearts

BODY LANGUAGE

Charlotte Mclean’s latest work focuses on the ultimate creative space: a womb. The Highland dance-trained choreographer talks to Lucy Ribchester about her continuing exploration of this subject through a new duet that re-imagines the first story of creation

As a starting point for an artist’s oeuvre, you don’t get much more symbolic than the womb. Contemporary and Highland dancer Charlotte Mclean’s first piece, a solo called And which garnered rave reviews at 2022’s Fringe, was about her experiences with her own womb. But when producer Helen McIntosh came to ask about her next piece, she still felt there was more to explore. ‘Helen was like “we want to make a new work.”’ Mclean recounts. ‘And I was like “brilliant.” “And what will that be?” Helen asked. “Oh, wombs still, but . . . what’s everybody else’s story?”’

The piece that emerged from that conversation is Futuristic Folktales. From the outset, Mclean says, she wanted it to be very much a collaborative work, in which every player, from composer Malin Lewis to cast members Orrow Bell and Astro Scheidegger, was able to bring their own experiences into the rehearsal space. ‘Everybody has come from a womb,’ says Mclean. ‘So there’s some sort of connection to this word, although a lot of people still don’t want to talk or even think about it.’

It was important to Mclean that a variety of bodies were present in the work, and that it subverted the usual womb imagery: ‘it could have been this very floaty, long hair, luscious womb, womb, womb, laaaaa,’ she sings. People of all genders have been involved from the start, and while the cast began by comprising a cis-woman, a non-binary person and a cis-man, eventually Mclean felt the two latter performers were better suited as a duet.

‘We have had performers in the work that find the wombs they have very dysphoric,’ says Mclean. ‘And then there’s Astro, who doesn’t even have a womb, and is very young, nowhere near thinking about future generations or children.’ During this year’s Fringe, Scheidegger already had prior commitments so Seke Chimutengwende will join the cast instead. He has a

15-year-old son, bringing yet another perspective into the mix. ‘I think it’s cool that the work is really going to mature,’ Mclean says. The body is to an extent at the heart of the piece. But Futuristic Folktales is also about the womb as a site of genesis for art and storytelling, a protective space, a place of creation.

This idea resonated with Mclean not least because of her background in Highland dance, a practice rooted in its heritage, protected by its performers and reincarnated in every generation. As a custodian of the tradition, Mclean had the weighted task of passing it on to contemporary dancer Bell and breakdancer Scheidegger. ‘It was a big question of the work in terms of what story can you pass down? Or what dance can you dance, especially with folklore or traditional dance? Or even breakdance. Who can dance that? Which culture is this from? Do I belong there?’

The answer, with regard to Highland dancing in Futuristic Folktales, had to be yes. For Mclean, like the womb, that genre is essential to her work. ‘I think Highland dancing will always be there in some form. I’m really interested in how we can use it, rephrase it, reform it, transform it, into the now and the future.’

Futuristic Folktales, Assembly @ Dance Base, 13–18 August, 3.50pm.

3 To SeeAcrobatics

N.Ormes

Gender norms are merrily chucked in the air and told to land however they like in N.Ormes (Assembly Roxy, 31 July–25 August, 5.15pm). This highly fluid show from Canada’s Agathe and Adrien promises to be provocative, tender and gasp-inducing as societal archetypes are dismantled, one tumble at a time. Barbaren Barbies (Underbelly George Square, 31 July–16 August, 4pm) is a ’wild women circus’ with a proper emphasis on silly: maybe like a Berlin Spice Girls? But that doesn’t mean they won’t be producing extraordinary physical (instead of vocal gymnastics) feats with tightrope-walking and aerial somersaults aplenty. Kung fu meets clowning in solo show Only Bones v1.9 (ZOO Playground, 2–10 August, 5.45pm) which features ‘nudity, strobe lighting and talcum powder dust’. Matt Pasquet aims to answer some of life’s big questions concerning birth, evolution and consciousness. All in 45 minutes.

WONDER STUFF

‘A children’s show featuring the effects of war on families has to tread very carefully. Isy Santini talks to Hoglets’ co-founder Gemma Curry about helping both her characters and the audience find their wings

I’m very passionate about how theatre should be for everyone,’ says Gemma Curry, founder of children’s theatre company Hoglets. Together with her husband, Andy, she stages original theatrical productions featuring handmade puppets. ‘We work in libraries; we work in car parks. We try and get theatre out to everyone and make it as affordable as possible.’

Their latest show, Wood Owl And The Box Of Wonders, follows an abandoned toy owl who lives alone in an old, empty house until one day a little evacuee girl shows up. ‘The box of wonders is actually his previous owner’s toy box,’ she explains. ‘Wood Owl makes his way down from the attic and gives these toys to the young girl without her knowing that a wooden owl is doing it. While this is all going on, Wood Owl is also experiencing his own loneliness because he wants to go out and join the real owls but he can’t fly. Spoilers . . . ’ she smiles. ‘He finds his wings and becomes a real owl at the end.’

The story has its roots in World War II, but Curry is well aware of its contemporary relevance. ‘It’s talking about how war affects not just children in war zones but also those who are removed from those conflicts and have left their family behind. It’s about how the wider world can affect your life without you having a say in it.’ Though it deals with difficult subject matter, Wood Owl And The Box Of Wonders doesn’t hammer the point. She explains that only a brief reference is made to war, allowing children to pick up the themes themselves.

It’s also important to her that the show walks the line between realistic and heartwarming. ‘We do say that the girl is happy at the end, but whether she’s happy permanently or not, we don’t know. What matters is her happiness now.’ For Curry, the simplicity of Wood Owl And The Box Of Wonders is its biggest strength. ‘I’m

not knocking loud children’s theatre because I love that, but with Wood Owl it’s very small and sweet, and I hope that the message of kindness to each other comes through.’

As part of Hoglets’ commitment to accessibility, they’re using the Keep It Fringe funding they’ve been awarded to create sensory bags for neurodiverse children. ‘It will have things like ear defenders, fidgets and drawing things, so any families who are concerned about bringing their child to the theatre, in case they won’t sit still or concentrate, have this little support bag to help them.’ Curry firmly believes in the power of theatre to not only educate but inspire children. ‘The loveliest feedback I’ve ever had was when a family sent me a picture of their little girl who’d made an owl puppet at my post-show workshop and had then gone home and made the set out of cereal boxes. I was like “yes! That’s what I want the show to give people!” It’s the idea that absolutely anyone can do this.’

Wood Owl And The Box Of Wonders, Gilded Balloon Patter House, 5–12 August, 10.40am.

3 To See Science

Bangs, flashes and small splashes of water can be expected in The Alphabet Of Awesome Science (Underbelly George Square, 31 July–25 August, 12.30pm) which, if you couldn’t tell from the title, is an Australian show. Their mission is to entertain and educate with both Lexi Con and Noel Edge (say their names slowly and you’ll get what they’re going for) doing that by the bucketload.

Doktor Kaboom (Pleasance Courtyard, 31 July–26 August, 1.30pm) is a Man Of Science, and here too there may be some loud noises, though an explosion-free show is promised. Still, there’s plenty of crazed (and informative) fun to be had with a guy who dons a neat pair of steampunk shades and boasts a natty head of yellow hair.

ALEx And The ImpRobots (Gilded Balloon Patter House, 31 July–18 August, 11.40am) is an AI show featuring a comedy robot and oodles of slapstick. We’re told that this will reassure us about the future rather than having audiences cowering in fear.

The Alphabet Of Awesome Science

NEW MUSICALS EXPRESS

For every Six there are half a dozen other musicals launched at the Fringe which disappear without a trace. Like Kathy & Stella, Rebecca Crockett aims to solve a mystery: why is there such a rash of new theatre shows telling us their stories in song? >>

PICTURE:

Sing it loud (previous page) OneMan Musical By Flo & Joan; (this page) Come Dine With Me: The Musical; (below and next page)

Character: Live

For every glitzy West End musical there will inevitably be a chorus of voices asking why there has to be any songs in it at all. As a whole heap of musicals join the barrage of shows coming to Edinburgh, so too will the critics who say these affairs are just fluff. But this year’s crop of theatre talent certainly has the lungs to answer them.

‘Musicals are often put in a box and I kind of don’t think they should be,’ says Sam Norman, the lyricist behind Come Dine With Me: The Musical. ‘It is not a genre, it is a medium, and you can say whatever you want in that medium.’ Together with composer Aaron Nihal King, the pair take us behind the scenes during a particularly disastrous fictional episode of the iconic Channel 4 show. Norman and King’s partnership is just one example of performers and writers launching a new era of musical theatre; one that breaks away from the safety of a jukebox musical and celebrates risky original ideas making it big after Fringe runs.

This year alone you’ll be able to see topless queer pirates swashbuckling in the punk-gig sounds of Tit Swingers. Or if you have a more sensitive soul then Pop Off, Michelangelo! tells the story of artistic legends seeking forgiveness for their queerness by becoming two of the most influential artists ever. Set to an infectious electropop soundtrack of course.

Meanwhile, Our Little Secret: The 23andMe Musical is an all-true modern story of one man’s search for the many siblings he never actually knew he had. Plus, and as wholly unlikely as it might all seem, there are musicals across August based on The Silence Of The Lambs, spelling bees, Jane Austen, Bette Davis, Wallis Simpson, Franz Kafka’s Metamorphosis, Elizabeth I, Mary Queen Of Scots, Jaffa Cakes (biscuit or cake?), KC And The Sunshine Band, the Great Emu War of 1932, Glasgow’s recent Wonka disaster, the Gwyneth Paltrow ski trial, and gene-editing technology.

PICTURE: STEVE BEST

Non-Player

Virtual Reality Musical

And maybe, one of those cited above will be the next break-out Fringe hit to spread its wings beyond a shipping container or lecture room and conquer the world. You certainly can’t talk about Fringe musical-theatre success stories without mentioning Six: The Musical which went from hotel conference room performances in 2017 to their West End debut two years later. The tide of public opinion on musicals seems to be changing with a newfound hunger for fresh concepts. ‘I don’t know if it’s because we are in the musical-theatre bubble,’ notes King, ‘but it seems to me that in the last five years or so, more and more people have become increasingly interested in this genre. There is an appetite for it.’

And now some established acts are turning their talents to musicals. Comedy music duo Flo & Joan, aka sisters Nicola and Rosie Dempsey, have appeared on Live At The Apollo, and are very used to seeing the sold-out signs go up outside their Fringe venue. This year they bring us One-Man Musical, the story of a renowned yet deliberately ambiguous creative gentleman. ‘Hopefully British stuff is having a little renaissance because it was dying on its hole for a long time,’ says Rosie. ‘I don’t think I can handle another jukebox musical entering my algorithm.’ Lovely as it can be to see more traditional-style musicals with original scores, there is always a danger of getting stuck in the past. ‘You see that kind of producing habit of like “oh, well this thing is popular right now so we’re going to keep making that,”’ adds Nicola. ‘You need people to be looking forward as well.’

One of those people is Brendan Bradley. His new show Non-Player Character: Live Virtual Reality Musical is exactly that. Four audience members join Bradley onstage in VR headsets while the action is projected onto a screen. It’s a bold blend of technology, creativity and improvisation, aimed at bringing audiences a new kind of art. ‘This is all part of not just a new era of storytelling and musical theatre, but actually, a new chapter of human art,’ Bradley insists. ‘We’re about to get hit with a bunch of content that is not human-generated and is merely meant to oversaturate, occupying our time and our experience. What we really want is connection and intimacy.’

It is hard to nail down exactly when eras begin and end. And maybe that’s not really for us to decide. Some may say we’re living through a golden age of musical theatre. Others will scoff at the idea. If these new shows are anything to go by, then the Fringe looks to be in safe hands (and in fine voice) for some time to come.

Come Dine With Me: The Musical, Underbelly Bristo Square, 31 July–25 August 2.20pm; One-Man Musical By Flo & Joan, Pleasance Dome, 31 July–25 August, 7pm; Non-Player Character: Live Virtual Reality Musical, Imaginex At Yotel, 2–25 August, 9pm, and live online at ZOOTV.

3 To See A Cappella

First up in the non-instruments brigade is Northern Lights (Gilded Balloon Patter House, 31 July–13 August, 1pm), Durham Uni’s premier vocalising troupe who represented the UK in New York at the recent ICCA (to the uninitiated, that’s the International Championship Of Collegiate A Cappella: a big deal, basically). Their show is called, for reasonably obvious reasons, Sing It! The Songsmiths (theSpaceTriplex, 19–24 August, 3.10pm) are Leeds Uni’s awardwinning groups whose repertoire ranges from Ariana Grande to Ed Sheeran and The Beatles to The Machine (Florence’s one). These guys also made a decent fist of it in aiming to enter this year’s ICCA, and for their fifth Fringe they bring us Black And Gold The Magnets (Underbelly Bristo Square, 31 July–13 August, 7.50pm) are the most seasoned bunch of this talented trio so they can make a fair claim in naming their show Legends. Hot vocals and beatboxing galore is staple fare here as this fivesome bring us an array of tunes from the likes of Stevie Wonder, U2 and Chaka Khan.

PICTURE: MICHELLE ROSE

Northern Lights

DEAD CERT

Think musicals and your mind immediately goes to New York and London, Broadway and the West End. This summer, think again: and think Mexico City. Isy Santini travels there to meet composer Pablo Chemor and Pulpo Arts co-founder Alonso Teruel who invite everyone to get lost in the surreal world of Comala, Comala

PICTURES: PAULINA CHAVEZ

Music is everywhere in Mexico City, with infectious beats and beautiful rhythms floating from doorways and street corners.

It’s not hard to see how such a vibrant place gave birth to Comala, Comala, the new show by Pulpo Arts set to become the first-ever original Mexican musical to play at the Fringe. Based on Pedro Páramo, Juan Rulfo’s classic 20thcentury Mexican novel, Comala, Comala tells the tale of Juan Preciado’s journey to the town of Comala in search of his father. While there, he meets the town’s inhabitants, both living and dead, and learns all their stories.

The idea for the show was born following Pulpo Arts’ co-founder Alonso Teruel’s work on a concert version of Dave Malloy’s Moby Dick musical. ‘During that process, my Pulpo partner, Alex Bracho, and I started wondering why there was a handful of original Mexican musical-theatre pieces, and how Mexico had yet to find a unique sound for its musicals. We thought we could follow in the steps of the Moby Dick project and draw inspiration from the most iconic Mexican novel: Pedro Páramo.’

After going through five different writing teams, Comala, Comala finally found its voice with composer Pablo Chemor and playwright Conchi León. On the surface, Pedro Páramo may not be an obvious choice for a mezcalfuelled musical adaptation (and yes, audience members can look forward to an agave-based shot at the end of the show), but Chemor believes that the book is inherently musical. ‘It plays a lot with the imagery of sound, and with some of the songs we just used the words exactly the way they are in the book; we let them have their own tune.’

Chemor’s contribution to Comala, Comala shouldn’t be underestimated, however, with around seven folk genres being incorporated into the score, including pirekua and son huasteco. According to Teruel, as a result of this genre mixing, ‘the show feels universal without feeling kitschy, and although it’s informed by the musical theatre of yesteryear, it isn’t that sound.’

The story’s musicality has certainly been brought to this adaptation’s forefront with its innovative staging and set design. The small stage is cluttered with large wooden drums made by the indigenous Rarámuri people. Teruel recalls the show’s first reading and how a lack of tables

meant they had to use these drums, which at the time were on display in the venue. ‘They then organically became this storytelling device that we now use as a unity piece. Mexico itself, as it were, started informing us on how these stories would want to be told.’

Perhaps even more unusual is the donkey jawbone prominently displayed atop one of these drums. Known as a quijada, this has long been used as a folk instrument in various parts of Latin America. ‘Originally, one of the musicians had one and he started bringing it to rehearsals,’ says Chemor. ‘When we started playing around with the text to see what we were going to do with it and there was this part of a dead animal sitting on a table, it was inevitable that we would use it. We’re talking about a town where we don’t know whether everyone’s dead.’

Though faithful in its adaptation, Comala, Comala also has a lot to say about the Mexico of today. ‘The big thing was how do we continue to honour our Mexican traditions, which are really this book, while reconciling that with our interest in cultural patriarchy and the emancipation of women within this country?’ Teruel explains. ‘And that is where Conchi came in. She writes very beautifully about the relationships between Mexicans

and family and patriarchy and religion from a perspective that seems a lot more respectful to the current times.’ From the music to its set design and story, Comala, Comala is firmly rooted in Mexican culture, but Teruel is confident that the musical is accessible to all.

‘It works on so many levels. If you turn off the subtitles, it’s just a beautiful piece of music that you can sit and witness, and that works. If you know Mexican culture, then you’ll enjoy it on a different level. If you know the novel, you enjoy it on that level. If you know the genre of magical realism, you’ll enjoy it on another level. It’s 70 minutes that can’t go wrong.’

For Chemor, it’s the surrealism of the story that makes Comala, Comala so universal. ‘When you read the book, you get lost in the timeline and that’s very obviously on purpose because the main character is also lost in this quest. My hope is that the audience in Edinburgh has a similar experience, being lost in a beautiful way in this world of sound and imagery.’

Comala, Comala, ZOO Southside, 2–25 August, 5.15pm.

Apphia Campbell is back with Through The Mud which builds on her previous hit play WOKE in examining racism and the fight against oppression. She talks to Neil Cooper about what it takes to enact real societal change

Alot has happened since Apphia Campbell first performed the play that has become Through The Mud Back in 2017, what was then a solo piece called WOKE saw Campbell and co-writer Meredith Yarbrough’s response to the unrest in Ferguson, Missouri (when black teenager Michael Brown was shot dead by a white police officer) become a Fringe hit. Developed and expanded to incorporate a second actress in the form of Tinashe Warikandwa, Through The Mud looks set to do much the same.

An adaptation of Poems From The Underground by writer and spoken-word artist Altovise Laster, WOKE and now Through The Mud chart the lives of Black Panther Assata Shakur and a 19-year-old student called Ambrosia, who is enrolling at university just as the events in Ferguson are kicking off. Fortytwo years apart, the two women rise up. As the killing of Brown and other black men, including George Floyd in 2020, helped foster the rise of Black Lives Matter, Through The Mud’s coproduction between Edinburgh-based Stellar Quines and the city’s Lyceum Theatre also seeks to demonstrate the power of working collectively.

‘When I started with WOKE, I was producing it all myself,’ says American-born Campbell. ‘I was also new to Scotland. Economically, I couldn’t afford to hire another actress, so it was just me. But the plan was always to have another actress, because the main character is 19 years old, and there’s so much of her story

’ ‘

that could be its own show. I wanted to draw a line between Assata and Ambrosia to show the similarities between them, and to be able to play with those relationships and tell their stories in a bigger way. Obviously, there are limitations with that if there is only one person on stage, but I wanted to show that it’s the same struggle.’

Bringing in Warikandwa has paid mighty dividends. ‘It’s just been brilliant to see the life that Tinashe brings to it,’ says Campbell. ‘I had my own way of doing it, but she has a different kind of innocence that I think gives a bit more colour to the character. That opened things up for me creatively and gave me more impetus as a writer to play with things. I was able to put those stories into more perspective and show the similarities.’

Presented at the Fringe as part of the Made In Scotland showcase following a run at the Lyceum, Through The Mud is promoted as showing ‘what it takes to be a revolutionary’. Given the current state of the world, how do we take on such a bold call to arms? ‘That’s a good question,’ says Campbell. ‘I don’t think anybody sets out to be a revolutionary, although I suppose Assata did, calling for the system to be overhauled. I feel like people are still calling for that. But I guess it’s hard, because how can you work within a system if it is created to be oppressive. So how do you become a revolutionary except if you try? It’s a long road.’

Through The Mud, Summerhall, 1–25 August, 5.55pm.

3 To See Immersive

Everyone wants to lose themselves a little bit in a live setting and masters of that domain are Darkfield who bring us two shows this Fringe. One of which is Arcade (Summerhall, 31 July–26 August, times vary) which taps furiously into the 80s gaming nostalgia and which examines the relationship between players and avatars, taking place pretty much in total darkness. It’s already sending shivers down the spine. John and Rebecca can’t wait for their wedding. The only problem could be their Best Man (Underbelly Bristo Square, 14–25 August, 2.20pm) who might not be fully trusted to fulfil his duties on the day. That’s putting it mildly. Sit back and don’t relax as proceedings go totally off the rails. Part sermon, part group therapy session and full-fat comedy show, The Ceremony (Summerhall, 1–26 August, 9.45pm) was a big hit at Adelaide Fringe. Ben Volchok shapes this entirely around the audience and asks such questions as ‘what’s going on? Who are we? Where are we?’

Arcade

FRINGE HIGHLIGHTS

HOW I LEARNED TO SWIM

A wide-ranging story of black people’s relationship with water is explored in this story by Somebody Jones. Thirtyyear-old Jamie starts swimming lessons as she decides it’s time to face her ultimate fear.

n Summerhall, 1–26 August, 4.10pm.

THE LAST FORECAST

A dance show that the kids will like (and learn from) by Catherine Wheels in which a gecko-like creature is having a fine old time alone on an island when that harmony is disrupted.

n Assembly @ Dance Base, 3–18 August, 1.15pm.

ERIC RUSHTON

Fans of Sean Lock will be intrigued to see this guy in action given that he won the inaugural Sean Lock Award. Real One features him retelling all manner of mishaps that have occurred to him and mistakes he’s made.

n Monkey Barrel The Hive, 31 July–25 August, 3.20pm.

BATSHIT

Directed by Ursula Martinez and created by ‘psycho-siren’ Leah Shelton, this piece is about the women who have historically been denied a voice and simply labelled as crazy.

n Traverse Theatre, 1–25 August, times vary.

SOLVE IT SQUAD

Due to legal reasons, this musical-theatre caper about four crime-solving ‘pesky’ kids (who once had a talking dog) can’t be called a name which everyone would recognise. But you get the gist, right?

n Assembly George Square Studios, 1–25 August, 6.40pm

THE SCOT AND THE SHOWGIRL

From Tony Award-winner and UK’s 1994 Eurovision representative Frances Ruffelle, and West End leading man Norman Bowman comes this story of how they met (28 years ago at Waverley station), featuring songs and laughs galore.

n Pleasance Dome, 31 July–26 August, 3.50pm.

TERRY CHRISTIAN

Those of a certain vintage will recall Christian as the face (and strong Mancunian accent) of hyperactive late-night 90s Channel 4 show The Word. He’s here with his confessional Fringe stand-up debut.

n The Stand 6, 12–18 August, 6.40pm. August, noon.

THE MARRIAGE OF FIGARO

If you like your operas leisurely and stately, you’ll be in for a big surprise on witnessing the spectacle of Kirill Serebrennikov’s take on Mozart’s classic for Komische Oper Berlin. For more than 200 minutes, you can revel in the breakneck pace as deceit, conspiracy and revenge threaten to ruin Susanna and Figaro’s big day while plans are afoot to take down the ghastly Count Almaviva. (Brian Donaldson) n Festival Theatre, 16 & 17 August, 7pm; 18 August, 4pm.

ASSOCIATION WITH

SURREALITY CHECK

Genre-defying is a term often bandied about when people discuss the work of Crystal Pite. So when the award-winning choreographer’s new show is pitched as ‘combining Arthurian cosplay and contemporary dance’, you get where they’re coming from. Dom Czapski hails it as a multilayered experience that will leave you wanting more

The work of very few living dance artists is described with such consistent awe as Crystal Pite’s. ‘Mind completely blown, yet again’, reports one breathless journalist. ‘Raw’, ‘vibrant’, ‘probing’, write others. Words appear almost to fail critics, whose reviews also come with a seeming sense of relief that dance is capable of producing something grown-up, intelligent and moving, and worth mulling over the next day.

In a way, this loss for words seems fitting when talking about Pite, someone whose output for Kidd Pivot (her Vancouverbased dance company) is often about the breakdown of systems of communication, and will make you wonder whether you’re watching a play or a dance. Kidd Pivot’s latest work, Assembly Hall (another collaboration with Jonathon Young, who writes and co-directs), leans more than ever into these idiosyncratic qualities.

‘It’s tricky when you say “written by”, you sort of think he just wrote a script and handed it to me, and I took it and ran,’ says the Canadian choreographer about her collaboration with Young, who usually writes most of the scripts. ‘We participate in aspects of both the writing and directing. He has this incredible knowledge as an actor of how to listen while I usually attack it in a more physical sense. And he can talk more beautifully and eloquently about the backstory and language.’

Jay Gower Taylor’s efficient design for this work’s community hall setting gives a wonderful sense of grounding: a laminate floor, a basketball hoop, a stage in the background with red velvet curtains. ‘The community hall is a place where people go to weddings and to memorials, have their graduations and their dances, their first kiss, their first experience of being on a stage,’ says Pite. ‘And all these beautiful and important human thresholds and rites of passage take place in these spaces sometimes.’

We are here for the Annual General Meeting of the board of the Benevolent And Protective Order, an amateur mediaeval re-enactment association. The eight members are there to discuss an event they organise called Quest Fest, which is in crisis due to low attendance, soaring debt and endless upkeep. Through comically rigid observance of their procedural rules, the members keep delaying a vote on whether to dissolve the Order. ‘They’re actually quite lovely these structures that we’ve made to try to contain ourselves and to create fairness,’ adds Pite. You could apply this thinking to democracy itself, she adds, another organising principle meant to create fairness in unity: ‘I like the tension in that.’

The dialogue is all pre-recorded by voice actors, while the onstage dancers each play a different character as they lipsync and embody that dialogue accompanied by physical amplifications which veer between realistic and athletically virtuosic. Watching Assembly Hall, you get the curious

sensation of seeing a cartoon being animated before your eyes, hovering somewhere between the real and the unreal. Soon, a whooshing sound booms from offstage (created by sound designers Owen Belton, Alessandro Juliani and Meg Roe), cascading notes from Tchaikovsky’s first piano concerto tumble into the space, and the action breaks into surreal re-enactments of mediaeval warfare, loops of movement and voice, and occasional interludes of dance.

In these lyrical moments, narrative recedes to let dance create further layers of meaning. ‘As a choreographer, one of my big challenges is always to ask “why do this as a dance?”’ says Pite. ‘Dance is the most inefficient way to tell a complex story, so what is it about dance that can bring something to this that nothing else can?’

For Pite, once the narrative and text are clear, the trick is ‘to play with a kind of slippage or a distortion of where we can go with language, and what dance can do that words can’t, and to play with how the body can distort or change the meaning of things.’ The Arthurian legend

of Perceval and The Fisher King also runs right through the work. ‘It’s an awkward, strange, dreamy tale and we loved the question of service that it comes with; the question of “did you ask why they suffered? Did you ask what you could do?”’

Assembly Hall doesn’t attempt to answer these questions in a straightforward way, instead creating layers of story and imagery that will leave the viewer free to formulate their own interpretation. Experiencing the show, you’ll be pleasantly engaged in working out associations and making sense of it; thinking about your own communities, even. Perhaps you’ll still be thinking about it the next morning, turning it over in your head like some multifaceted artefact that refuses to remain still. Or you may just let it wash over you as a uniquely kinetic and narrative experience. Either way, you’ll be left wanting more.

Assembly Hall, Festival Theatre, 22–24 August, 7.30pm.

HAMILTON DE HOLANDA ON THE BANDOLIM

The mandolin originates from Italy. This instrument arrived in Brazil through Italian and Portuguese immigrants and has become one of the main instruments in Brazilian culture, especially in the choro genre. Choro is the older sibling of samba, with a similar rhythm and mostly instrumental repertoire. The mandolin has a unique sound, largely due to its double strings that produce a magical ‘chorus’ effect. Typically, the mandolin has eight strings. In 2000, I asked a luthier to build a ten-string mandolin to expand harmonic and polyphonic possibilities. Today, in 2024, all Brazilian luthiers and several from other countries are making ten-string models. It has become a new standard.

n The Hub, 9 August, 7.30pm.

SOUMIK DATTA ON THE SAROD

The word ‘sarod’ itself is Persian, meaning ‘melody’ or ‘song’, hinting at the instrument’s inherent musicality. Known for its deep, expressive tones, the sarod is a captivating fretless lute, allowing for characteristic bends of notes central to Indian music. Its ancestry is intriguing and can be traced back to the Afghan rabab where it was played by migrant horse traders. I was 13 when I accidentally discovered my late grandmother’s sarod. It was meant to be. I hope Edinburgh discovers the sarod’s richness, allowing them to be moved, surprised, and engaged by its sound; it’s equally arresting in both traditional and contemporary settings, giving it a cross-generational appeal.

n The Hub, 5 August, 8pm.

The story and culture behind the pipa are part of my blood .. ” “

MUSTAFA SAID ON THE OUD

‘Oud’ is a name used to refer generally to a short-necked string instrument. Old Arab manuscripts suggest that the oud’s origin is Greek, though we aren’t sure that the instrument they describe is the one we know now. Despite various depictions throughout history, paintings and manuscripts from the early 11th century suggest that the oud we know now originated during the Fatimid period. In my programme at EIF, I introduce an instrument that was described in a manuscript from the 14th century, trying to find, through the past, a better way for the future.

n The Hub, 19 August, 8pm.

PICTURE:

PICTURE:

SIDIKI DEMBÉLÉ ON THE DJEMBE

The djembe is one of our most instantly recognisable instruments. A centuries-old connection between the skin of the drum and the skin of the drummer’s hands conjures a fluidity of spirit, life and storytelling. I use three standard sounds, which exist within a spectrum of rhythm and melody to involve my audience in a joyous exchange of beats and harmony. I was born into a Griot family in Côte d’Ivoire, West Africa. It’s a rich heritage of music, oral history, diplomacy and counsel and a proud culture spanning centuries of Mandeng civilisation. From infancy, I learned from masters; music was everywhere and everything.

 The Hub, 6 August, 8pm.

At the International Festival, it’s not just the musicians who come to Edinburgh from far afield that have fascinating back stories: their instruments do too. Here, a number of these players talk passionately about oftenancient pieces of equipment that generate unique and unforgettable sounds

WU MAN ON THE PIPA

MAKHABAT KOBOGONOVA ON THE QYLQIYAK

 The Hub, 20 August, 8pm.

The pipa (琵琶) is a Chinese traditional instrument, belonging to the pluckedstring category of instruments. Pipa is a pear-shaped, four-stringed lute. It came from Persia and was introduced to China through the Silk Road trade around 2000 years ago. The instrument has a wooden body with a varying number of frets ranging from 12 to 24. Pipa is played with a forward and backward plucking motion that sounded like ‘pi’ and ‘pa’ to fanciful ears. Hence, all plucked instruments in ancient times were called ‘pipa’. When I was 12, my parents encouraged me to learn the pipa because they believed that I had musical talent and they both loved traditional music. And since then, this instrument has been part of me. The story and the culture behind the pipa are part of my blood: it’s me.

The qyl-qiyak is an upright bowed fiddle with two horsehair strings. Horses are really important in Kyrgyz culture. I’ve been playing it since I was so young; I remember it always being with me. I just feel a real deep connection to its vibrations and to the deep sound, and it’s so capable of expressing grief to heal the soul. This instrument has always had a strong connection to shamanism and the recitation of oral poetry. The special sound of qyl-qiyak is due to the unique properties of its strings, which are made of 60 or 70 fine horsetail hairs. It’s a sound palette wired to elicit an emotional response in the human body.

BEK ALAGUSHOV ON THE KOMUZ

In Kyrgyzstan, the komuz is like our national instrument. A three-stringed long-necked lute carved from apricot wood, you can pluck it, strum it and strike it. There are also special hand and arm gestures that add narrative to what you’re playing. My great-grandfather was a well-known komuz player, so the tradition has been in our family for a long time. I started playing at ten in my home in the Issyk-Kul lake. Joining the Ustatshakirt Centre was a joy, because they had revitalised this instrument and even managed to make it cool again to play the komuz in Kyrgyzstan in the postSoviet era. Now, there are so many virtuoso komuz players, and the instrument is getting the recognition it deserves.

 Ustatshakirt Ensemble, The Hub, 13 August, 8pm.

TAKE IT EASY D

eclan McKenna does like to be beside the seaside. During the pandemic lockdowns, the glam-indie troubadour left London for Brighton as he waited for his second album Zeros to be released, and has stayed there ever since. ‘The idea of escaping somewhere felt good,’ he says. ‘London is great but it has its pitfalls and it can be an exhausting place to live.’

McKenna had barely stopped for breath since first breaking through in 2015 as the winner of Glastonbury’s Emerging Talent competition, seducing a fanbase of his teen peers with politicised pop nuggets such as the FIFA-critical ‘Brazil’, follow-up pops at conversion therapy and right-wing media, and the generation-rallying ‘The Kids Don’t Wanna Come Home’.

Now in his mid-twenties, he’s learned to stop worrying and just love creativity for the sake of creativity. ‘It’s not like at the start where you say yes to everything and you wind up living so fast and playing so many gigs,’ he says. ‘I was very lucky to have a lot of hype around the first record. It was just go, go, go, and always aiming for a big next step. Whereas now I see it more as this is my life now, and how do I want it to be. I don’t necessarily want to be moving at that pace all the time.’

McKenna is inviting the listener to join him in the laid-back sonic odyssey of his latest collection, What Happened To The Beach? ‘A lot of the third album is about slowing down,’ he says. ‘The second album is quite a sugar rush. It’s constant energy for the most part whereas to enjoy the third album to the fullest you have to sit back a little bit and let it flow.’

Singer-songwriter Declan McKenna has stepped back from his politically charged former guise with a groovier, sunnier approach. Fiona Shepherd discovers a musician who wants his fans to tune in, chill out and just dance

Where Zeros borrowed some of its style from sprawling 70s concept albums, the concept this time is that there is no concept. ‘Thinking is often the enemy of your creativity,’ he says. ‘We caught lightning in a bottle. Let’s just make sure it doesn’t blow up in our faces.’ The album cover features McKenna wielding a metal detector against an azure sky, foraging for those unexpected treasures. Working at leisure in Los Angeles with producer Luca Buccellati, he hit upon an eclectic menu, taking in the finger-popping ‘Nothing Works’ (‘a celebration of hopelessness’), the Beck-like funk stew of ‘I Write The News’, and cosmic indie soul in ‘Mulholland’s Dinner And Wine’.

What Happened To The Beach? is certainly infused with California sunshine but McKenna reckons he’ll stick to his own coastal retreat. ‘LA is a nice place to dip my toes in but you spend a lot of time driving; and there are lots of elements that are a bit odd and alien for me compared to little Brighton where you can walk everywhere.’ Next stop is the eminently walkable Edinburgh, with a show which lets it all happen as per his newfound suck-it-and-see approach. ‘The big difference is that it’s less like a rock show. In keeping with the weird groovy world of the new album, the best way to enjoy it is to dance.’

Declan McKenna, Edinburgh Playhouse, 12 August, 8pm.

16:50 | 13 - 25 AUG

16:50 | 13 - 25 AUG

ASSEMBLY ROOMS: MUSIC HALL

ASSEMBLY ROOMS: MUSIC HALL

ASSEMBLY ROOMS

Written and performed by Gary McNair | Directed by Joe Douglas

IT’S NOT REQUIEMLIKE BUT JOLLY HOLIDAY

A sizzling new take on Bizet’s Carmen ditches the Spanish kitsch and takes it back to where it all began: at Opéra-Comique in Paris. Director Andreas Homoki talks to Carol Main about the opera’s controversial 19th-century beginnings and his ambitious vision for this timeless tale

There’s not really much point in pondering too long on what makes Carmen one of the most popular operas ever written. First performed in 1875, Bizet’s opera has brilliant tunes that sing themselves in the mind way after they’ve been heard; a tragic storyline of passion, betrayal and love going all wrong; and it’s set in sunny Spain. What’s not to like? But it wasn’t always so.

A quarter of the way through the 21st century, at which point Carmen has notched up countless performances all over the world, it’s hard to believe that three quarters into the 19th century, its first outing didn’t meet with instant success. ‘Things were different then and it was controversial, not what people expected,’ says Zurich-based opera director Andreas Homoki, whose new production for Paris’ OpéraComique comes to Edinburgh for three performances. ‘The role of women in society was conventionally subdued. Women in opera became tragic victims in their resistance against men. Of course, Carmen is killed at the end, but she’s different: she acts at a level that’s the same as a man, if not higher. She’s very strong.’

Whether that strength evidenced itself in Carmen’s earthy eroticism or having the gall to present women smoking on stage, it wasn’t generally to the liking of Opéra-Comique’s original audiences. While the fiery, free-spirited eponymous Carmen remains central to the drama, Homoki’s new production turns to the opera house itself for a starring role in his telling of the story. ‘The Opéra-Comique is the birthplace of this piece,’ he says. ‘It’s not comic, of course, but chanson; not requiem-like but jolly holiday. The music is very diverse, with beautiful contrasts, superbly complemented by the texts. It’s ironic, satiric theatre and we’ve taken this and presented it as if in the auditorium.’

This is also shorthand for meaning that there’s no ‘kitschy’ Spanish take on the staging or any romanticised notion of Spain to be seen anywhere. ‘We are concentrating on the characters, who act as if in front of an audience,’ says Homoki. ‘In thinking about the opera, I stood on the Opéra-Comique’s empty stage and thought “this is the place where it happens”. Phantoms of the opera inhabit this old building. Maybe there’s

HOLIDAY ”

Carmen round a corner, or Micaëla appearing from the side. We’re putting one person on the stage who is sucked up by the opera’s spirit and its 19th-century bourgeois audience.’

That one person becomes the opera’s Don José, set against the bare surrounds of this famous Parisian opera house itself. In premiering the production at Opéra-Comique, the company had its set right there in front of them. For Edinburgh, the oldfashioned brick wall at the back of that Paris stage is recreated. ‘What you will see is the empty stage of the Opéra-Comique. Then the story evolves as a homage to theatre and especially the Opéra-Comique.’

As a musician, Homoki also wants the audience not only to hear the music, but to see it, whether in the libretto’s dialogue, based on Prosper Mérimée’s 1845 novella, or in the energy and emotion of Bizet’s score. ‘There are so many beautiful moments,’ Homoki says, softly singing ‘Je t’aime’ down the phone line. ‘This is followed by the weirdest anharmonic interval that cuts into it like a knife: “no, you don’t love me,” says Carmen. “If you did, you would follow me.” The way this is set is incredible.’

What happens next is the irony of hearing Escamillo, a new lover in town, singing his famous ‘Toreador Song’ from the back of the stage. ‘“Fuck you” is the message,’ says Homoki. ‘What Carmen is saying is that she’ll go with this other man. It’s so clever musically and dramatically. From the very first moment, superstar bullfighter Escamillo is her man. The concentration of these four main characters (Carmen, Micaëla, Don José and Escamillo) is why you can’t tell this story in a realistic way. These characters relate to each other and create something incredible. You need this one step away to make a show about the show; about the opera.’

As the story takes its course, the production jumps forward in time to Germany’s occupation of Paris in the 1940s, with Don José once more becoming the man we met at the beginning. At the very end, things move even further forward to today’s world, switching on the bullfighting on TV, just like watching the football. ‘It’s a timeless story,’ says Homoki, ‘and when you’re working on it, the best opera ever. And even when not, it’s definitely one of the top five.’

Carmen, Festival Theatre, 4 August, 6pm; 6, 8 August, 7pm.

@recirquel

#recirquel

SHAKE IT UP

Since their foundation in 2003 by writer and director

Chela De Ferrari, Teatro La Plaza have held fast to a vision of creating performance which is entertaining and provocative, while pushing the boundaries of theatricality and inclusion. Even when taking on canonical figures, De Ferrari displays an awareness of theatre’s potential to change minds and present alternative versions, rupturing the predictability of a frequently produced script.

The Peruvian company has a dynamic vision, imagining theatre as a model community, grounded in a democratic sensibility and engaging in active social conversations concerning disability, inclusion and the power of performance to invigorate wider changes. Yet despite the seriousness of that intention, their productions celebrate the pleasures of human expressiveness and the malleability of drama.

William Shakespeare’s seemingly immovable Hamlet, of course, sits at the heart of the European tradition, to the extent that its most famous speech has become over-familiar, and the protagonist has become a symbol of modern humanity’s existential dread. Teatro La Plaza, however, have taken an experimental and challenging approach to the script, weaving

In this day and age surely no one can do anything different with the constantly produced Hamlet?

Gareth K Vile insists that a Peruvian theatre company will achieve just that

together Shakespeare and personal testimonies. Indeed, by engaging with a cast of people with Down’s syndrome, the company uses this thoroughly mainstream play to delve into the experience of exclusion, giving a voice to those who exist in a world that appears to have been made to deny their needs.

The script itself is replaced by a ‘free’ retelling of Hamlet, using the famous ‘to be or not to be’ soliloquy to reflect on the cast’s lived experiences; a series of confessional monologues disrupt the plot’s easy passage. Pop music and dance routines are juxtaposed with the Bard’s poetry in a production that is relentlessly inquisitive and encompasses multiple dramaturgies to generate an immersive and passionate performance.

With the eight-person cast speaking their own truths, Hamlet is suddenly thrust into contemporary conversations, making it less of a museum piece or a vehicle for actors’ vanity. Instead, it becomes part of a movement towards a deeper understanding of the ways in which cultures can oppress the marginalised with myths of normality.

Hamlet, Lyceum Theatre, 15 & 16 August, 7.30pm, 17 August, 2.30pm, 7.30pm.

HIGHLIGHTS

THE FIFTH STEP

Slow Horses and The Gold man Jack Lowden returns to the Scottish stage with National Theatre Of Scotland’s production of David Ireland’s latest tale of men, intimacy and belief. n Lyceum Theatre, 21–25 August, times vary.

GRUPO CORPO

Brazil’s iconic dance company bring us two pieces by choreographer Rodrigo Pederneiras featuring music by Gilberto Gil and Metá Metá. ‘Gil Refazendo’ zeroes in on ‘remaking, while ‘Gira’ is about ritualistic movements.

n Edinburgh Playhouse, 5–7 August, 7.30pm.

YUJA WANG

At the time of writing, the programme had yet to be announced for this concert, but for her legion of fans that is a trifling matter; just glimpsing this piano superstar in full flow is a supreme gift in itself.

n Usher Hall, 5 August, 7.30pm.

YOUSSOU N’DOUR

The Senegalese king of mbalax (an evocative merging of rock, soul and Latin) has long been known to western audiences for his collaborations with Bruce Springsteen, Ryuichi Sakamoto and, most iconically, Neneh Cherry. n Usher Hall, 13 August, 8pm.

AFTER THE SILENCE

Brazilian film and theatre director Christiane Jatahy returns to the International Festival after last year’s Dusk, this time depicting the struggle of three women as they fight for their land and people.

n The Studio, 21–24 August, 8pm.

BAT FOR LASHES

Natasha Khan comes to the Festival on the back of her recently released sixth album, The Dream Of Delphi , pretty much her ‘mother’ album as she reflects on the birth of her child and the chaotic world she’s arrived into.

n Queen’s Hall, 23 August, 8.30pm.

FIRE IN MY MOUTH

In 1911, 146 young women died in the Triangle Shirtwaist Factory fire in Manhattan. Moved by this tragic story, Julia Wolfe created an oratorio which is performed here by the Philharmonia Orchestra conducted by Marin Alsop and featuring the NYCOS female voices.

n Usher Hall, 21 August, 8pm.

Festival Awards

spirit of funk, wonder no more’ is the kind of for. But bass supremo Nik West gets that kind of compliment regularly for free. Give yourself an earful of a track such as ‘Funk 4 The People’ and you’ll see exactly what that reviewer meant. She can rock out with the best of them too (‘Nothin To It: But To Do It’) or get deep down and finger-clickin’ soulful on the likes of ‘Black Beauty’. (Brian Donaldson)

line that you’d sell a reasonably close relative  La Belle Angele, 18 July, 7.30pm.

Ahead of her gig in the salvaged Jazz Bar, young saxophonist Kimberley Tessa speaks to Megan Merino about the importance of local venues in nurturing talent and her love for switching things up

Changing lanes

Since 1978, Edinburgh Jazz & Blues festival has been bringing artists from various countries, backgrounds, disciplines and experience levels to Scotland’s capital. The beauty of a programme boasting names such as Lakecia Benjamin and Theon Cross alongside local acts like Fergus McCreadie and Kimberley Tessa, lies in its ability to put Scotland on the map for its jazz output, giving up-and-coming stars the chance to share a bill with those whose footsteps they will one day walk in.

Tessa is a Dundee-based saxophonist, flautist, vocalist and songwriter who made a name for herself at last year’s Scottish Jazz Awards when she took home the Rising Star prize; an impressive feat for someone with no formally released music. Initially studying Chemistry at St Andrew’s University, it didn’t take long before Tessa’s love of music and popular jazz led her to nearby Dundee to see what the local music scene had to offer. ‘I was actually classically trained at school,’ Tessa says, ‘but I always loved listening to jazz. That was the music I enjoyed, but I never really pursued jazz or started playing jazz until I was around 18.’

Listening to artists such as Stevie Wonder, Amy Winehouse, Ella Fitzgerald and Billie Holiday was formative in Tessa’s appreciation of music growing up. Since then, she has honed her skill as both a band member and improviser, displaying effortless range and a pure tone on saxophone as well as rich, vibrato-heavy vocals. ‘I’m definitely most inspired by Amy Winehouse and that sort of style; a more R&B, jazz and free style.’ Alongside occasionally being one third of The Vintage Girls and playing with Dundee jazz-fusion group Milhouse Collective, Tessa’s solo sets feature original compositions mixed in with classic jazz standards, played with a rotating band of musicians.

‘I really like doing the quite different lanes. Milhouse Collective is a more fusiony, dancey project. I love playing saxophone in that band. It’s a lot more fun and upbeat. Then in my own stuff, especially when I do standards, it’s quite classic jazz. Then in my writing, it’s more of an R&B-ish lane. I just like the differences that each style brings; and obviously I’m playing with different musicians as well. They bring other things to the table, other energies.’

Often getting together to play in Dundee music venues, I wondered what her experience in the city’s jazz scene has been. ‘Dundee’s jazz scene sort of keeps itself to itself,’ she says, slightly downbeat. ‘It’s hard to have a jazz scene going because so many venues have closed recently, so everything feels quite small.’ Both 3 Session Street, which hosted a popular jazz afternoon, and Kings have shut down in the past month. ‘Just being able to put on jazz and music events and facilitate meeting other musicians is so important. So many musicians I would never have met without these spaces and events.’

As fate would have it, Tessa’s Festival performance will be taking place at the city’s Jazz Bar, a beloved independent venue that closed its doors in April. Thanks to crowdfunding efforts and the decision to make it a Community Interest Company, the venue has been able to reopen in time to host Tessa and her band (Sean Bissett on guitar, Edward Hetherington on bass and Matthew Gaughan on drums) for 2024’s event, and hopefully for many more years to come.

Kimberley Tessa, Jazz Bar, 12 July, 6pm.

One of the most intriguing strands at this year’s Festival, Jazz From Italy showcases a scene that is sometimes overlooked in discussions of European jazz yet continues to produce outstanding musicians and composers. Master drummer Roberto Gatto (a man who has collaborated with the likes of Joe Zawinul, John Scofield, Lee Konitz and Chet Baker) presents his Perfectrio, while trumpeter Daniele Raimondi renews his partnership with Scottish saxophonist Konrad Wiszniewski, and guests with Glaswegian singer-songwriter Kitti. Putting it all into context is promoter, journalist and researcher Francesco Martinelli, who gives a talk on the evolution of Italian jazz.

Ever since a group of Creole singers performed at Milan’s Eden Theatre in 1904, jazz has been an important part of Italian culture. In the 1920s and 30s, playing and listening to jazz became a form of resistance against the fascist regime’s anti-American policies, and in the post-war period the scene flourished. While Italian musicians started out imitating their American heroes, a homegrown sound emerged in the 1960s, with artists viewing bebop, modal jazz, avant-garde and fusion through a distinctly Mediterranean lens.

Master trumpeter Enrico Rava was one of the first Italian modern-jazz musicians to break through internationally. Bringing a warm lyricism to both mainstream and avant-garde settings, Rava has collaborated with Carla Bley, Steve Lacy, Joe Lovano and Pat Metheny, and recorded several albums for the ECM label. Other important figures include pianists Giorgio Gaslini and Enrico Pieranunzi, trumpeter Paolo Fresu, saxophonist Gianluigi Trovesi and double bassist Bruno Tommaso.

When in Rome

Think of jazz music, and Italy may not be the first place which springs to mind. But Stewart Smith argues that the country has a long-established culture of playing and listening to the genre

Since the 1960s, when Franco Evangelisti, Ennio Morricone and Egisto Macchi formed the free-improvisation group Gruppo di Improvvisazione Nuova Consonanza, there’s been a strong avant-garde, represented today by adventurous players like double bassist Silvia Bolognesi, trumpeter Gabriele Mitelli and drummer Cristiano Calcagnile, and labels such as We Insist! and I Dischi Di Angelica.

Active since the 1970s, Gatto keeps one foot in tradition while continuing to push forward. Seeking new sounds after a series of repertory projects celebrating the likes of Miles Davis and Shelly Manne, Gatto formed Perfectrio with Alfonso Santimone (piano, Fender Rhodes) and Gabriele Evangelista (electric bass), two questing young musicians on the Italian scene. The trio combines lyrical themes with energetic grooves and contemporary textures from analogue synthesisers, loops and live electronics.

Raimondi and Wiszniewski made a splash at Edinburgh in 2022, their swinging improvisational dialogue deftly supported by the crack Scottish rhythm section of Alan Benzie (piano), Mario Caribe (bass) and Doug Hough (drums). Born in Palermo and currently based in Paris, young trumpeter Raimondi should bring flair to Kitti’s blend of soul and jazz, his trumpet wrapped around her smoky voice.

Swinging Through History: The Evolution Of Italian Jazz, St Bride’s Centre, 15 July, 7pm; Konrad Wiszniewski & Daniele Raimondi, St Bride’s Centre, 15 July, 8.30pm; Kitti (featuring Daniele Raimondi), George Square Spiegeltent, 16 July, 8.30pm; Perfectrio, St Bride’s Centre, 19 July, 9pm.

Roberto Gatto

Blue notes

Fiona Shepherd takes a walk across the rooftops alongside Colin Steele who tips his hat to Scottish sophisti-pop legends The Blue Nile with his quartet’s latest show

One of the hottest tickets in this year’s Edinburgh Jazz & Blues Festival programme is a tribute to The Blue Nile by the Colin Steele Quartet, comprising the trumpet man himself, pianist Dave Milligan, bassist Calum Gourlay and drummer Alyn Cosker.

Steele has been dubbed the Sibelius of Scotland for his evocation of folk tradition in his compositions but he also has pop chops, having cut his teeth in the 1980s playing with Hue & Cry. Now he turns his focus on their contemporaries, making no apologies for choosing his favourite Blue Nile songs for the setlist.

‘I’m particularly drawn to their ballads but there will be some slightly more upbeat songs too,’ says Steele. Expect an outing for Taylor Swift’s fave rave ‘The Downtown Lights’ alongside the title track from frontman Paul Buchanan’s solo album Mid Air. ‘I love the melodies of their songs, but particularly the overall atmosphere they create. There is just so much space. Paul Buchanan’s singing actually reminds me of Miles Davis’ trumpet playing: understated, cool, but every nuance is filled with beauty and so much emotion.’

The quartet has previously recorded two albums for German indie label Marina Records which celebrated the works of Joni Mitchell and another set of Scotpop maestros, The Pearlfishers. Colin Steele Quartet Play The Blue Nile is next up, and due to be recorded in Pencaitland’s Castlesound, the same studio used by Buchanan and his bandmates PJ Moore and Robert Bell. ‘Although we will record the album in one day,’ says Steele, ‘as opposed to The Blue Nile famously taking several years . . . ’

Colin Steele Quartet: The Blue Nile, St Bride’s Centre, 14 July, 8.30pm.

Top 5 Singers

Megan Merino picks out a fivesome of the finest vocal talents in Edinburgh

TOM MCGUIRE & THE BRASSHOLES

Well-known for their raucous live shows, McGuire’s epic voice brings enough power to give his brilliant Brassholes a run for their money.

 George Square Spiegeltent, 12 July, 11pm

MARIANNE MCGREGOR QUINTET

The winner of 2023’s Best Vocalist at the Scottish Jazz Awards, McGregor effortlessly lends her voice to beloved jazz standards with an homage to greats from Billie Holiday to Ella Fitzgerald.

 St Bride’s Centre, 13 July, 8.30pm.

NIKI KING

One of Scotland’s most renowned jazz singers pays tribute to Sarah Vaughan and Dinah Washington (100 years since their birth) in a specially curated concert of covers and original compositions.

 George Square Spiegeltent, 15 July, 8.30pm.

EDY FOREY

Hot on the heels of their debut album release, this Edinburgh-based duo combines Erykah Badu-esque vocals with D’Angelo-adjacent grooves for some jazz-fusion compositions.

 Piccolo, 18 July, 6pm.

SISTER COOKIE

Based in London and hailing from Lagos, Sister Cookie’s vocals soar over her band’s bluesy instrumentals and West African rhythms.

 George Square Spiegeltent, 21 July, 8pm.

Sister Coookie

2 - 26 August 4.40pm

OTHER FESTIVALS

JUPITER RISING

OK, so technically this is part of the broader Edinburgh Art Festival, but a huge party out in an iconic landscape far from the madding Auld Reekie crowds most certainly deserves its own space. A joint arts and music bonanza (until 1am!) that champions queer artists and platforms experimental work, this year’s highlights include the late-night stage being curated by Femmergy, the book launch of Gemma Rolls-Bentley’s Queer Art, and Sgàire Wood returning for the riotous Sgàiraoke. (Brian Donaldson) n Jupiter Artland, 17 August, 6pm.

THE BIG ISSUES

2024 is a huge year for politics with elections at home and abroad which may well dictate our long-term futures. Isy Santini takes a look at the Festival Of Politics’ reaction to crucial concerns from AI to climate change

The Festival Of Politics returns with a programme full of panels, performances and exhibitions while also celebrating some important anniversaries. 2024 marks the 20th birthday of both the Scottish Parliament building at Holyrood and this festival, while it’s also the 25th anniversary of the Scottish Parliament and its Youth wing.

The programme features a number of retrospective events to honour these landmarks. In Conversation With Benedetta Tagliabue (19 August, 5pm) will welcome the architect who co-designed the Scottish Parliament building to discuss her work alongside a musical performance from composer Roberto Cacciapaglia. Other events are more forward-looking, such as 25 Years Of The Scottish Parliament: Where Are The Young Women? (22 August, 3.30pm), a discussion panel on breaking barriers for women in politics comprised of politicians, academics and activists.

Inevitably, there’s no escaping artificial intelligence, and AI: Deep Fake Politics (23 August, 11am) will examine their effect on democracy while considering questions of responsibility and accountability. This will be explored further in Who Controls AI: Ethics And Legality? (20 August, 11am), a panel looking at attempts to regulate this rapidly expanding technology. It’s not all talks and panels though as the festival also offers an all-day popup Climate Café (22 August) which is intended to be an inclusive space for anyone who wants to have a frank chat about climate change and its solutions over some free refreshments.

Festival Of Politics, Scottish Parliament, 19–23 August.

Eat up

The two major summer food festivals take turns in enticing hungry punters to taste their wares. Jo Laidlaw samples what they both have to offer

There’s plenty to tuck into around Edinburgh, with two food festivals supplementing the clusters of street-food traders that descend on our nation’s capital as soon as the sun splits the sky. Edinburgh Food Festival celebrates its tenth year and starts with a bang by hosting the Scottish Street Food Awards on its opening weekend (20 & 21 July). Nine traders will go head-to-head to claim the coveted title with local heroes Knights Kitchen and Ting Thai duking it out alongside Cala Cala, plant-based Planet G, and the always banging Pitt Beef Boys. Visitors can have their say in The People’s Choice Award.

It’s business as usual for the rest of the run, with 30 traders offering everything from doughnuts to dumplings. Steam Bunny bring the bao buns, Jarvis Pickle’s got pies, and Chick+Pea return with their entirely excellent halloumi fries. Bellfield Brewery and the Moskito Sangria Bar keep everything nicely lubricated, there are tastings and kitchen demos, plus a special producers’ market on the final weekend.

Foodies Festival returns to Inverleith Park with a mash-up of food and music. Celebrity chefs such as Great British Bake Off winner Matty Edgell and MasterChef: The Professionals alumni Gary Maclean, Dean Banks and Sagar Massey appear alongside music headliners Blue, Symphonic Ibiza and Peter Andre (who’ll also be cooking). With regular Kids Cookery School slots there’s lots to keep wee ones occupied, while the new LumberjAxe Fire Stage focuses on fire-based cooking and probably has your dad’s name all over it.

Edinburgh Food Festival, George Square Gardens, 19–28 July; Foodies Festival, Inverleith Park, 2–4 August.

POTTED HISTORY

There won’t be a dry eye in the house when Keith Brymer Jones takes to the stage at this year’s Fringe By The Sea.

The renowned potter and seven-season judge on The Great Pottery Throw Down will be chatting to his partner (and Still Game player) Marj Hogarth about the influence of clay on his life. As regular viewers of his show will know, it’s going to get emotional . . .

‘I’m a hard, hard bastard, really,’ says Brymer Jones. ‘People ask me all the bloody time “are you going to cry?” Without looking too psychologically into it, I think it’s actually a strength showing your emotions rather than a weakness. I feel a connection for the potters, and if viewers at home relate to what I’m doing, that’s great.’

Brymer Jones and Hogarth arrive in Scotland on the back of a 22-date UK tour with a live event which allows him to throw some pots, reflect on his punk career with The Wigs (‘that was a skinnier version of me’, he remarks ruefully), and discuss perceptions of his on-screen persona (‘I’m not an actor on screen, that’s just who I am’).

‘This all started out when I was doing a pop video as Adele with a parody of “Rolling In The Deep”; they got me into a dress, and into this mansion, and the clip went viral. It just so happened that the head honcho

Great Pottery Throw Down star Keith Brymer Jones is heading to Fringe By The Sea where he’ll give that audience a peek into his colourful life. Eddie Harrison talks to our favourite emotional artisan about personas, punk and pulling on a dress

in charge of Bake Off and Sewing Bee was looking for a new format and they saw this cross-dressing nutter-potter guy and that was that. Life’s strange, isn’t it?’

The rest indeed is, as they say, TV history, with Brymer Jones winning the hearts of a nation simply by being his empathic, encouraging self to a diverse group of aspiring ceramics artists. ‘I’m not one for pretentions; I’m a blue-collar artist. Without sounding like a tosser, I’ve been doing this 40 years, and I’m not going to fluff it when I throw a pot.’

Contestants on the show are doing something different and there has to be a criteria to judge. ‘They have different tasks, like making a pottery model of Shirley Bassey,’ says Brymer Jones. ‘That’s not something I’d do myself. The funny thing about that one was we got in touch with her to ask if she was OK with it, but she stipulated we must describe her as Dame Shirley Bassey. Making that kind of pottery isn’t my own cup of tea, but it’s very creative, and I do get very emotional when I see the wonder of creativity. Otherwise, ceramics could just be making a toilet; and who wants to make a bloody toilet?’

Keith Brymer Jones: A Life In Clay, Big Top, North Berwick, 7 August, 11.15am, as part of Fringe By The Sea.

SET SAIL FOR A NAVAL SPECTACULAR

Experience the magic of The Royal Edinburgh Military Tattoo in 2024, a spectacular celebration of music, culture, and military precision set against the iconic backdrop of Edinburgh Castle.

This year, the Tattoo along with Lead Service the Royal Navy will present an unforgettable show theme Journeys.

From 2 to 24 August, Journeys promises an exhilarating blend of tradition and

Scan for tickets:

innovation with mesmerising pe ormances featuring world-renowned military bands, international cultural talent, as well as homegrown UK musicians and dancers.

Each pe ormance is a voyage through musical history, tradition and culture, showcasing the unique stories and vibrant traditions of nations far and wide.

Embark on this incredible journey with us this August!

TICKETS ON SALE NOW

JUST A MINUTE

As the city’s community and performer-led festival delivers a smaller-scale event for 2024, Danny Munro notes that the reasons for this pause are reflective and forward-looking

There are growing concerns at home about the social and economic stability of the Fringe, while a myriad of global justice and equality issues plague festival-goers of all nationalities. An argument could be made that this year’s Edinburgh Festival revelry will take place against one of the most complex political backdrops we’ve encountered for a good while. This is where the people of Just Festival come in, to remind those flocking to the capital late this summer of the value in keeping community issues close to your heart, while soaking up the festival’s frivolities. Having launched in 2000 under the wing of St John’s Episcopal Church before splintering into an independent charity in 2012, Just Festival fully engages with performers, organisers and attendees, prompting questions that drive positive social change. Though Just Festival is pausing for a moment of reflection this year, the charity has committed to offering a stripped-back programme across three days in August, featuring a range of free concerts with celebrated Scots musicians such as the David Nicholson Trio and The Lark Duo. The reason for this pause in the typical programming is to give the group an opportunity to take stock and ask the question: what is a just festival? Those impassioned about this query are invited to share their views in a survey that can be found on the Just Festival website, or by dropping into St John’s Church on Lothian Road.

Just Festival, St John’s Church, 15–18 August.

BEST OF THE REST OF THE FESTS

Take a lucky dip into our round-up of alternative festival highlights also hitting the Scottish capital (or a little bit outside) this August

Long have we wondered if the Edinburgh TV Festival (20–23 August) might one day fling its doors open for some public events but alas, not this year. Still, out on the streets you might bump into the likes of will.i.am or Warren Littlefield (producer of Fargo, The Handmaid’s Tale) while excellent TV and stage writer James Graham (BBC's The Way was his most recent TV work) delivers the prestigious MacTaggart Lecture.

Launched in 2023, Edinburgh Deaf Festival (9–18 August) returns with a series of events including a chance to explore the Deaf History Scotland Archives, an immersive introduction to Dungeons & Dragons, Deaf Karaoke, a mental health and laughter workshop, and Life Is A (Deaf) Cabaret

The Royal Edinburgh Military Tattoo (2–24 August) is still a core part of the Edinburgh Festival, and this year’s line-up includes India Teamwork Arts who will bring a dash of bhangra and Bollywood to proceedings, the US Sea Service Band, and the ever-popular if slightly isolated Lone Piper. And TagFest (31 August) is an allday tag-rugby event out in Duddingston which invites applications by 16 August from teams or even individuals who will be assigned to a squad of similar ability. There will be awards and an after-party if that’s the added incentive you need to take part. (Brian Donaldson)

The Way

The Lark Duo

National Winner of Scotland’s Outstanding Festival 2023*. 250+ music, comedy, literature, wellbeing and exploration events across 10 days in North Berwick.

Hungry? Eating and drinking in Edinburgh in August is more than a side-show; it’s part of the whole experience of this crazy, wonderful city. So whether you’re looking for a quick pint, a speedy refuel between performances or want to put the food front and centre and enjoy a bit of a breather, we’ve got you covered. We’ve pulled together our best recommendations for food and drink, organised by area so you’re never too far from your next meal. We’ve also asked The List’s team, who live here year-round and know their way around the city’s cocktail shakers and pasta makers, to share their insider knowledge. So let’s eat!

CITY GUIDE

CUMBERLAND ST

KING ST

NORTHUMBERLAND STREET

PRINCES ST new town

HERIOT ROW

QUEEN ST

THISTLE ST DUNDAS ST

HANOVER ST DUBLIN

GEORGE ST ROSE ST

Edinburgh’s New Town is a UNESCO World Heritage Site, a wonder of urban planning and Georgian design. It makes up the northern half of the city centre and while it’s not quite as festival-busy as some other parts of town, major venues like the Playhouse, Assembly Rooms (who have a huge outdoor garden area for food and drink on George Street) and comedy giant The Stand are here. There’s plenty of good eating and drinking, and it does tend to be a little quieter than the Old Town (although the word ‘quieter’ has a relatively different value in Edinburgh in August).

Starting near the Playhouse, St James Quarter is particularly well-served with decent casual dining options: venture to Ka Pao for fusion spicing, go fancy at Sushisamba or keep it casual downstairs at Maki & Ramen, a Japanese-themed joint that will get you back on the road in time for your show. Stockbridge and Broughton Street are both short walks away and both areas yield some of the best food and drink in town. You’ll find some reliably familiar names around St Andrew Square: Dishoom continues to delight diners (there’s usually a line at night, although you can book during the day) and there’s a Wagamama if you’re in a hurry. For bars, take our advice and look down. Good Brothers Wine Cellars on Northumberland Street is a great spot for cheese and wine by the glass, Hoot The Redeemer leans into its subterranean basement vibe, while locals' spot the Magnum hugs its tenement corner.

YORK PL BARS

Dirty Dick's 159 Rose Street, dirtydicksedinburgh.com

Finding a Rose Street pub free from stag and hen parties feels impossible, but this is an exception. There’s standard pub grub like fish and chips for the handful of tourists who stumble across this fairy-lit, old-style spot. But it’s the real ales on tap, shining selection of single malts and shambling, low-ceilinged interior that create an undeniably cosy atmosphere.

Lady Libertine

25 West Register Street, ladylibertine.co.uk

Darkly glamorous drinking den downstairs and bright café/lounge upstairs, Lady Lib pulls off the near-impossible feat of being a place for every occasion without being bland or boring. That’s down to three things: genuinely warm, confident service from a hip team; excellent Levantine-themed food (think barbecued aubergine and spiced ox cheeks); and a banging cocktail list.

The Lucky Liquor Co 39a Queen Street, luckyliquorco.com

A cute terrace unfolds into Lucky Liquor’s pocket-sized tiled bar while a mooch downstairs leads to an indemand pool table. The team have pedigree and it shows on the menu: around 16 cocktails, a handful of wines and focused beer selection, plus hot dogs for when the munchies strike. They make a lot of their own liqueurs and syrups too.

Never Really Here

89 Rose Street North Lane, instagram.com/ neverreallyhereliquorlounge

One of the most authentic speakeasy experiences in Edinburgh. Despite its location, just off pub-laden Rose Street, it still feels secret: you have to knock on the closed, graffiti-covered door before gaining entry. Inside, it’s an intimate den of mixology with just a few tables. Bartenders blend unique cocktails to your preferred flavour profile with dangerously delicious results. Cash only.

Panda & Sons

79 Queen Street, pandaandsons.com

This speakeasy-style bar has appeared on many ‘best bars’ lists since it opened in 2013. Disguised as a barber shop, descend the stairs to find a fun cocktail bar where drinks are created with the precision of a Michelin-starred chef. Their experiments in freezing techniques are lauded by mixology geeks, but even the most casual cocktail drinker will find something delicious.

Thistle Street Bar

39 Thistle Street, thistlestreetbar.com

This traditional pub feels untouched

by fad and fashion, yet there are deft nods to what today’s drinkers value: an excellent gin selection, cask and draught beers (with plenty of low and no-alcohol options), a short but decent wine list and warm service. But it’s the huge collection of whisky that draws people in, with regular traditional music the cherry on the cake.

CAFES AND CASUAL BITES

Bastard Barista 15 Queen Street, bastardbarista.com

Descending the steps to this basement coffee shop feels like entering a steampunk daydream. Aside from eclectic décor, coffee is a serious business here with a rotation of house blends to try and a hand-drip option that requires 20 minutes of patience. A tempting selection of cakes and bakes can fuel creative sessions at the dedicated laptop window area.

Bonnie & Wild

St James Quarter, bonnieandwildmarket.com

Some of Scotland’s best-known and loved food vendors and chefs also have a second home at Bonnie & Wild, safely undercover and accessible for even the wettest festival day. The likes of Gary Maclean’s Creel Caught sits alongside Jimmy Lee’s Salt & Chilli, with local heroes East Pizza, Leith Woks and Sri Lankan specialists Kochchi.

Singapore Coffee House

5 Canonmills, singaporecoffeehouse. co.uk

Singaporean food is a fusion of flavour and colour, condensed here into a cheery eight-seat restaurant. Roti canai is deliciously buttery and flaky, served with a rich curried sauce. A cup of kopi with condensed milk completes the authentic experience, powering you with sugar and caffeine for your day.

RESTAURANTS

BABA

130 George Street, baba.restaurant BABA is a great spot for big groups. There’s a selection of mezze plates you can’t stop picking at, as well as feasting dishes from the grill including an entire seared sea bream dripping with flavour, or a rose-pink côte de boeuf. Dishes are laden with spices from the Levant and can be washed down with tasty craft cocktails.

MY PICKS

Edinburgh Street Food Leith Street, edinburgh-street-food.com

Got a group with dietary requirements? No problem. Edinburgh Street Food caters to all: the ten traders include Antojitos’ Mexican fare for vegans, multi award-winning Junk for the traditional Scottish fast-food palate, or The Peruvian for a bit of spice. App ordering at shared tables inside (or with a Calton Hill view outside) keeps it convivial and there are regular events and guest traders. Great fun.

Lowdown Coffee

40 George Street, lowdown.coffee

A minimalist interior ensures the star of the show at Lowdown is the coffee itself. The staff know when a long pour might enhance flavour and what blend goes best with oat milk. Bags of hand-roasted beans are available for takeaway. There’s also mouthwatering homemade cakes, or veg-packed salad bowls and pomegranate-speckled avocado toast for something more substantial.

The Pantry

1 North West Circus Place, thepantryedinburgh.co.uk

No other Stockbridge spot has yet managed to topple The Pantry from its brunch-offering throne. They don't just rely on the Instagramworthiness of their dishes here. If you manage to bag a coveted seat (especially difficult at the weekend), expect waffles dripping with maple syrup, towers of eggs benedict topped with fresh veg, and fry-ups with pops of greenery.

JO LAIDLAW

EAT & DRINK EDITOR

I travel by train, so ‘nice places near stations’ is my specialist subject. Topping the list for a Haymarket pint is The Mad Hatter, a chilled neighbourhood bar that absolutely does not give waiting room vibes. I head there after dinner at The Palmerston, a real fave, or curry at Rustom: their ‘business lunch’ is a steal at a tenner and you don’t need a briefcase to bag it. The lamb shank nehari is epic. Most of my Waverley journeys start or end at The Café Royal, a beautiful, traditional pub that’s retained its period features. I never get tired of Ka Pao’s spicy fusion, specifically the hispi cabbage with cashew (please let it never go off the menu). In August though, much of my money goes to The Piemaker, an unsophisticated takeaway pastry spot that becomes a sort of magical epicentre between train, venues and The List office. Not even sorry.

Dirty Dick's

If it’s been a while since your last visit, here’s our pick of the top Edinburgh openings in the last year or so

ASKR

102 Constitution Street, askr.co.uk

Dan Ashmore’s new solo venture delves into traditional open-fire cooking techniques, with grilling, scorching and slow-cooking in the overnight embers very much to the fore.

AVERY

54 St Stephen Street, averyedi.co.uk

After a series of supper club events, Rodney Wages’ new Scottish venture is now open for fixed-choice fine dining, tucked into an atmospheric, intimate basement on what’s becoming one of the city’s best streets for food.

CARDINAL

14 Eyre Place, cardinal.scot

Expect fine dining with a contemporary edge in wunderkind Tomás Gormley’s take on the fixedcourse tasting menu. Absolutely not one to be rushed, it’s a delight for all the senses.

DÙTHCHAS

187 Great Junction Street, Leith, duthchas-restaurant.co.uk

The team behind Purslane have taken over from the much-missed Aurora, delivering a beautifully cooked, Scottish-led tasting menu in a pocket-sized urban space.

ENCORE

2–4 Hope Street, encoreedinburgh.com

This West End bar is wild for all the right reasons: gorgeously camp

Bibimbap Edinburgh 96 Hanover Street, bibimbap-edinburgh.co.uk

An ideal spot for a quick dinner that doesn’t scrimp on quality. The menu headlines three types of bibimbap (a Korean rice bowl usually topped with an egg and as much spicy sauce as you can handle) and KFC (Korean fried chicken) which is crispy and tender, with a sweet and spicy dip. Speedy and delicious.

Fishers In The City 58 Thistle Street, fishersrestaurants.co.uk/fishersin-the-city

Plates piled with fresh oysters and oil-drizzled scallops still in their shells showcase the best of Scottish seafood at this former warehouse. It’s a celebration of all things coastal, claws and all, and each dish feels like it’s been refined over years of trading. Dark wood and dim light buck the Scandiminimalist trend of new restaurants, creating a cosy atmosphere.

Kahani 10 Antigua Street, kahanirestaurant.co.uk

décor, yummy snacks (who doesn’t fancy a croque madame?) and strong drinks in pretty glasses. Seriously good fun.

LYLA

3 Royal Terrace, lylaedinburgh.co.uk

Decadent and precise, Stuart Ralston’s latest offspring pays homage to Scottish seafood across ten courses. A wonderful treat where every element has been carefully considered.

MONTROSE 1–7 Montrose Terrace, montroserestaurant.co

This new venture from the Timberyard family includes an upstairs formal dining space, with a more casual downstairs bar. Each offers thoughtful small plates that champion Scotland’s larder.

SOMEWHERE BY NICO

39a–40a Queensferry Street, somewherebynico.co.uk

Those familiar with the Six By Nico concept will feel at home here: six cocktails (with associated small bites) are the hero, and the theme changes every six weeks. There’s a new Six By Nico next door too.

SUSHISAMBA W Edinburgh, St James Quarter, sushisamba.com

With truly stunning views across Edinburgh, the inside looks as good as the outside in this full-on fiesta of a restaurant. A fusion of Japanese, Brazilian and Peruvian cuisine with some truly delightful moments.

charcoal and squid ink crema and fresh coriander is also a hit. Walkins only.

Thamel

7 East London Street, thamel.co.uk

The Himalayan hotpot here is deliciously tangy, the lamb naga packed with spice and the garlic naan dripping with butter. What’s not to love? Add in a subterranean cocktail bar hidden behind a bookshelf and you’ve got everything for a great night out. Packed with plants and brightly painted, the surroundings are as delightful as the flavour-packed menu.

Tipo

110 Hanover Street, tipoedinburgh.co.uk

Tipo combines the smart-casual feel of a small-plates place with quality Italian cooking (though the pasta comes in main-meal sizes if you prefer). It’s nicely rustic and generous of spirit. Service is among the best in town and it’s hard to think of an occasion that wouldn’t be enhanced by food in this sleek, yet warm, spot.

This lively and colourful Indian restaurant has plenty of space for a gang, plus corkage-free BYOB will keep everyone happy. There’s a range of slightly more unusual street -food style dishes, but it’s hard to see beyond their thali lunch, which will keep you going through a full day of Fringe-ing.

Lucky Yu

53–55 Broughton Street, luckyyu.co.uk

Handmade gyoza and fusion bao buns are the focus at this laid-back Asian fusion joint. The interior is stripped back and airy, letting the flavour-packed food speak for itself. Bao with sticky five-spice brisket is almost too good to share and Korean chicken is addictively sweet and spicy (they claim it’s the best in town and they may be right).

Mowgli Street Food 22 Hanover Street, mowglistreetfood.com/ restaurants/edinburgh Mix, match and share at this pictureperfect former bank building: yes, it’s all small plates, everything comes out at the kitchen’s pace and there’s not quite enough room on the table, but go with it. Dietary requirements are confidently catered for and the lack of meat in dishes like comforting holy chow (chickpea, potato and spinach curry) won’t even register.

Paz Taqueria

64 Thistle Street, paztacos.com

Stuart McCluskey did much to popularise taco culture in Edinburgh, and his confident touch is evident at this banging wee place. Try their sopes de choripapa: thick corn patties, topped with refried beans, crisp potatoes, chorizo or cauliflower, and a flurry of goat’s cheese. Battered cod with

Under The Table

3a Dundas Street, underthetable.uk

A tasting menu at The Table will set you back £110 per person, but their new basement bistro next door offers the same level of finery for a much more accessible price. Portions are on the small side but each dish, like hay-smoked mackerel and crab with elderflower, is packed with flavour and is a delicious ode to Scottish produce.

Avery

In association with

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WHITEHOUSE LOAN

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GREENHILL PL STRATHEARN RD

Anchored by Summerhall and bounded by The Meadows, the south side of Edinburgh is made up of residential streets surrounded by green space, making for a refreshing change of pace. Previously a student-central district, changing demographics mean you’ll find some of the city’s boujiest spots cheek-by-jowl with credible coffee shops and bars that have spanned decades. Around Bruntsfield Links is Thai Lemongrass, a traditional Royal Thai restaurant (something of a dying breed these days). There’s also Kora, an accessible way to eat Michelin-starred Tom Kitchin’s food in a brasserie setting. It’s close to The Golf Tavern, a traditional boozer which, appropriately enough, overlooks Bruntsfield Links. Further up the road, Montpeliers has been doing its bar/brunch/buzzy thing for decades (and is none the worse for that) and Honeycomb & Co is an upmarket café on a sunny spot with a next-level brunch. McLarens On The Corner has plenty of nooks and crannies and a roomy outdoor courtyard; the ‘corner’ refers to Holy Corner, named for its confluence of churches, where you’ll find Church Hill Theatre. Continuing up Morningside Road, you’ll see some of Edinburgh’s best-loved indie grocers, like cheesemonger IJ Mellis (complete with a wee cheese lounge bar through the back); brilliant greengrocers Fruitalicious, and bakery Twelve Triangles (there are a few of them around town). Finally, Canny Man’s is an Edinburgh institution; word on the street is they’re slightly nicer to tourists these days but we still can’t be held responsible should you turn up with a backpack.

BARS

The Blackbird

37–39 Leven Street, theblackbirdedinburgh.co.uk

Cocktails (boozy milky concoctions for sweet tooths or deliciously balanced fruity sours) and one of the best beer gardens in town are the main pull here. The pop-up kitchen (Flash & Ollie currently have the reins) has been pared back to a selection of packed sandwiches, served in American-sized portions if you’re hungry, with snackier small plates of pub classics.

Decanter Winery & Dinery

183 Bruntsfield Place, decanterbruntsfield.co.uk

You’re in the hands of people who know their vino at Decanter. With friendly neighbourhood-style service, food is based on small-plate snacking and sharing-board grazing to keep you going through another glass: start with a coupe of Harlot Brut from Kent and don’t skip the Korean chicken. It’s wee though, so booking is recommended.

Fin & Grape

19 Colinton Road, finandgrape.com

As the name suggests, the focus is fresh Scottish seafood and delectable wines at Fin & Grape. The classy interior whispers wine bar vibes and each dish, from fresh oysters on ice to market fish of the day, is presented perfectly. Small plates packed with local produce make up most of the menu and the wine selection is exceptional.

Margot

7–8 Barclay Terrace, margotedinburgh.co.uk

Younger sister of the much-loved LeftField, Margot is a relaxed café by day, refined wine bar by night. That means coffee and croque Margot in the morning,

then 23 wines by the glass and ten small plates as evening beckons. Sustainable Scottish seafood is a specialty, the wines are accessible yet surprising and the team’s enthusiasm is infectious.

The Royal Dick 1 Summerhall, summerhall.co.uk/the-royal-dick Summerhall is a mighty Fringe venue, but don’t forget the charms of The Royal Dick, its very own courtyard bar. Completely trafficfree, with ample seating, naturally Pickering’s Gin and Barney’s Beer (both produced on-site) feature heavily on the drinks list. The menu is straightforward and there are usually a few extra vans and popups around in August.

CAFES AND CASUAL BITES

Detour Espresso

39 Argyle Place, instagram.com/ detourespresso

If the coffee-obsessed baristas at Detour don’t think the espresso is pouring right, they’ll fix it. This attention to detail may extend the wait time but it’s more than worth it if you’re serious about coffee. They use local Machina beans and there’s a small selection of sandwiches alongside cakes and bakes in this bright and open space.

Kate’s 116 Causewayside, instagram.com/kates_edinburgh

Nearly everything at this bakerycafé is homemade, from the elderflower cordial used to soak sponges to the rhubarb jam that accompanies the scones. Cakes and bakes are seasonal, making the most of Scotland’s natural larder. Think fresh strawberries topping Victoria sponges in June and sharp hits of

Edinburgh is great for veggies and vegans and even the smallest place will have acceptable options. We’ve pulled together a list of places are either 100% vegan or almost there; you’ll find more dotted through this guide too

ANTOJITOS

Edinburgh Street Food, Leith Street, edinburgh-street-food. com/antojitos

Antojitos regularly take over bar kitchens around town, but Edinburgh Street Food is the permanent home for the all-vegan Mexican (most of the other traders have veggie and vegan options too).

BLACK RABBIT

33 Brougham Street, blackrabbitedinburgh.co.uk

A combo of coffee shop and vegan deli, Black Rabbit is particularly handy if you’re self-catering. They do sandwiches, toasties and breakfast rolls as well as pastries, cakes and tarts.

CHAPTER ONE COFFEE SHOP

107 Dalry Road, chapterone.coffee

Roomy coffee shop on bustling Dalry Road with a local feel. 100% vegan, their coffee comes from Dear Green and their ‘meat’ comes from Sgaia Vegan Meats, who are building up a cult following.

CONSIDERIT

3–5a Sciennes, consideritchocolate.com

This artisan chocolate shop specialises in delicious doughnuts, ice-cream and pretty chocs; all vegan, all delicious. They also do frothy coffee and frappuccino sans dairy and are super-handy for Summerhall.

CURRAN GEAL

20 Leven Street, facebook.com/currangeal

A tiny café/deli with sandwiches, soup, coffee and cake to eat in or takeaway, plus a handy range of groceries. They’re now fully vegan and, if you were wondering, the name means white carrot.

DAVID BANN

56–58 St Mary’s Street, davidbann.co.uk

This Edinburgh institution is still one of the few veggie places that feels a bit special, where you’d happily snuggle in for a whole relaxed evening or special occasion. Lots of vegan options too.

FACEPLANT

37 Duke Street, faceplantfoods.com

Vegan café specialising in doorstoppers of grilled cheeze sandwiches and mac and cheeze combos. Takeaway and delivery also available.

NOVAPIZZA VEGAN KITCHEN

42 Howe Street, novapizza.co.uk

A pocket-sized Italian straddling the border of the New Town and Stockbridge and run by a Roman family. You’ll find pasta and a huge range of pizzas (they do gluten-free too).

SORA LELLA

13a Brougham Street, soralella.co.uk

This family-run restaurant prove it’s possible to re-imagine classic Roman cooking without any animal products whatsoever. Pure Italian comfort food.

Fin & Grape

rhubarb in May. Artisan venison or pheasant sausage rolls provide savoury lunch options.

Machina Coffee

38 Marchmont Road, machina-coffee.com

Testament to their exceptional, locally roasted beans, you’ll spot bags of Machina coffee around the cafés and restaurants of Edinburgh. Go straight to the source at this Marchmont coffee bar, a big, bright space where strong espressos and perfectly crafted americanos are the focus. Pastries and Kilted Doughnuts are available during the week; at the weekend there’s sandwiches and soups.

SALT Café

54–56 Morningside Road, salt.scot SALT stands for Seasonal, Artisanal, Local and Thoughtful. Each brunch dish, with its signature sweep of sauce, jam or yoghurt, is made using local produce and the sourdough comes from The Palmerston’s bakery. Sticky cinnamon buns are a great accompaniment to a morning coffee and the menu of cakes, bakes and brunches is ever-changing with the seasons.

Seeds For The Soul

167 Bruntsfield Place, seedsforthesoul.co.uk

With its strings of fairy lights and nature prints on the walls, this place has taken root in Bruntsfield as a spot for fresh, wholesome vegan eating. Generous ‘soul bowls’ offer freshly chopped vegetables and giant falafel balls or tofu strips. The flavour and texture of their signature burgers almost demand reassuring confirmation that the place is, indeed, 100% vegan.

Victor Hugo Deli

26–27 Melville Terrace, instagram.com/victorhugodeli

It has been on the Meadows since 1969 (though there are two newer locations at George Street and The Shore) and it has retained all its charm. Gleaming cabinets display sandwiches, cakes and pastries, with coffee roasted in-house. Sit in the sun and order the house special: pastrami on rye with sweet gherkins and Emmental cheese.

RESTAURANTS

Harajuku Kitchen

10 Gillespie Place, harajukukitchen.co.uk

A funky interior and some of the sharpest staff in the city keep this place feeling on-trend despite its pedigree as a stalwart of Gillespie Place. The usual Californian-style sushi rolls (dragon, spider, rainbow) are served refreshingly chilled and the sashimi tastes as light as spring water. It’s easy to see why it remains so popular with in-theknow locals.

Hendersons

7–13 Barclay Place, hendersonsrestaurant.com

100% veggie with excellent vegan choices, this family-run spot may have changed location and passed through the generations, but Hendersons has turned out fabulous vegetarian fine dining without fault since 1962. In a light and airy interior, wildflower-speckled dishes of salt-baked celeriac and foraged mushroom risotto don’t just look the part; they prove natural plant-based trumps faux-meat menus any day.

LeftField

12 Barclay Terrace, leftfieldedinburgh.co.uk

The simple menu at LeftField lets the quality of Scotland’s seafood speak for itself. Half-lobsters,

over the years, turning out scallop starters cooked just right and moreish confit duck leg. Booking advised.

Tempo Perso

208 Bruntsfield Place, mytempoperso.com

If you’re looking for some filling, no-fuss Italian food with an excellent selection of wine from the length of Italy, Tempo Perso is a solid choice. The menu doesn’t stray far from the classics, but each familiar dish is done well with rich sauces that have simmered for hours. Stylish décor and towering ceilings keep things feeling classy.

Three Birds Restaurant

3–5 Viewforth, threebirds.co.uk

steamed Shetland mussels and flaky sea trout are accompanied by French flavours or just a simple squeeze of lemon. Conversations are absorbed by a wall of pot plants, creating an intimate atmosphere, complemented by the sprawling greenery of Bruntsfield Links seen through the huge windows.

Matto Pizza

29–33 Newington Road, mattopizza.co.uk

Neapolitan-style sourdough pizzas are baked in a wood-fired oven that sparkles like a 70s disco ball at the Newington branch of Matto. Toppings vary from classic margarita with fresh basil and garlic to more eccentric concoctions of gorgonzola and cranberry jam. Service is fast, so this place is perfect for a bite between shows, or takeaway to the Meadows nearby.

Pomelo

27 Sciennes Road, pomelocafe.co.uk

A shift in location across Marchmont hasn't messed with Pomelo's charm: a tiny restaurant that’s big on pan-Asian flavours and well worth the table squeeze. Combinations are rich, tingling and filling, including their slippery, spicy signature hand-ripped noodles. Deep braises and umami flavours are prominent, with salad dishes to cut through and various mocktails and natural wines to accompany.

The Rabbit Hole 11 Roseneath Street, therabbitholerestaurant.com

The clientele at this neighbourhood restaurant is made up of an eclectic mix of students, regulars and curious visitors staying in Marchmont; it’s not the place for murmured conversation. But the French-inspired menu of seasonal Scottish produce hasn’t wavered

Three Birds belies its compact size with a big glass frontage and a multi-faceted, adaptable menu. Brunch, a set-priced lunch deal and dinner options are complemented by sides and nibbles, kids' picks, blackboard specials and a decent drinks list. Well-cooked and wellflavoured meat, fish and vegetarian dishes sit alongside a reasonable choice for vegans, with most options gluten-free too.

MY PICKS

SUZY POPE

EAT

& DRINK TEAM

I’m waddling around the city at seven months pregnant this year: my priorities have changed. If I haven’t booked, Edinburgh Street Food nearly always has a space to rest my bump while enjoying a packed bao from Bundits, prawn toast from Junk and a soft cookie from Softcore: every craving satisfied in one place. Baby wants sushi all the time: the chilled rolls from Harajuku Kitchen more than satisfy, or I’ll swap the mural-clad dining room for humble Chizuru Tei at Haymarket, which still has some of the best fresh fish and rice offerings in town. Once my dietaries switch back to normal and I can have rare meat, pâté and oozing blue cheese again, I’ll be heading straight to L’escargot Bleu for French fare and hitting Pickles for packed charcuterie plates and several glasses of wine. Meanwhile, I’ve found an exceptional selection of AF beer at Brauhaus in Tollcross; I love the ramshackle, crumbling décor.

Hendersons

EVERY WEEKEND DESERVES A FRESH MIX

MORRISON ST

WAPPROACHRD

GROVE ST GARDNER’S CRES

DUNDEEST

SFOUNTAINBRIDGE

LOTHIAN RD

BREAD ST

tretching from Haymarket Station to Lothian Road and onwards to the bustling streets of Fountainbridge, this part of town holds some of Edinburgh’s biggest yearround cultural venues: the Usher Hall, Lyceum Theatre and Traverse Theatre are all grouped together at the bottom of Lothian Road. If you’re looking for a quick pitstop, you’ll find familiar chains nearby as well as local heroes like Ting Thai Caravan, who offer some of the best modern Thai food in the city, and Buck’s Bar, a chickenfocused Scottish chain where the welcome is warm and the crumb crispy. Upstairs from the Traverse is Dine, a sophisticated Scottish bistro where they’re used to getting you fed by curtain up. For bars, Innis & Gunn Taproom is close (steak frîtes for the win), there’s a huge Brewdog across the way and NQ64 is a fun place to while away an hour: a neon-splashed arcade bar with reasonable cocktails.

A brisk stroll up Lothian Road brings you to Tollcross and Fountainbridge, traditional student areas with top-notch casual food and drink. The Wildcat Bar (tucked away on Tarvit Street) is dimly lit and mysterious with excellent cocktails. Bennets Bar is an institution, a carefully preserved old theatre bar where the drinks list has moved with the times. Tuk Tuk Indian Street Food can handle any size of crowd with ease, Street Of Beijing is a credible no-frills Chinese diner and The Cloisters Bar has been serving well-conditioned real ale since long before the hipsters started drinking it.

BARS

1820 Rooftop Bar At Johnnie

Walker Princes Street

145 Princes Street, johnniewalker.com/en-gb/visitus-princes-street

After you’ve checked out all the whiskies or enjoyed the Journey Of Flavour experience, taking the lift to this rooftop café-bar feels like discovering a secret. A wall of glass shows off an unparalleled view of Edinburgh Castle as you sip their malt of the moment, menus are matched to the whisky and there’s an outdoor terrace for sunny days.

The Hanging Bat

133 Lothian Road, thehangingbat.com

Kegs re-used as urinals and a little brewing room on display: you can tell the focus of here is the beer. With around 20 draught beers and ales plus over 100 bottles, it’s a mecca for craft-beer enthusiasts. Thirstquenching lagers and hoppy APAs can be enjoyed alongside a menu of American-style bar food like chilli dogs and stringy macaroni cheese.

Hey Palu

49 Bread Street, heypalu.com

One of the owners hails from the Amalfi Coast so the Negroni selection at Hey Palu is particularly good, but the gin Martini could give them a run for their money. The focus is cocktails, with an Italian twist on nearly all the innovative signatures, but plates of cured Italian meat and cheese provide some delicious sustenance for boozy sessions.

Teuchters Bar & Bunker

26 William Street, teuchtersbar. co.uk/teuchters-west-end-bar

Teuchters is an amiable pub on one of Edinburgh’s prettiest streets.

The back bar holds around 120 single malts and the food menu is

well worth exploring. From mac and cheese to burgers and pies, the Scottish larder is well represented but not taken too seriously. A pleasant place to lose an hour or two.

The Voyage Of Buck

29–31 William Street, thevoyageofbuckedinburgh.co.uk

Dark walls and low lights keep things feeling snug and secluded at this classy cocktail bar. The main draw might be the selection of mixology-forward signature drinks but the food menu is also a delight. Venison tartare and wild garlicstuffed chicken Kyiv are a nod to local produce, packed with flavours from across Europe.

The Wee Vault

7a West Maitland Street, vaultcity.co.uk

This quirky bar and beer shop near Haymarket Station is a contender for one of the smallest in Edinburgh, seating just 11 customers. A beacon for ale lovers, there are more beer choices than seats: 24 on tap at any time. There’s a fridge full of cans for takeaway too, with heavily fruited sour beers as well as low-alcohol choices.

CAFES AND CASUAL BITES

Beatnik

2 Brougham Place, beatnik.cafe Blink and you’ll miss this ultra-cool coffee shop. It may be small, but it’s got a TARDIS-like quality. Hand-poured and espresso machine coffees are served on platters with a glass of water, just like the hip coffee bars of Berlin. Pastries tend to sell out around lunchtime, so get in quick if you’re hungry.

Holy Cow Lounge

Edinburgh Printmakers,

1 Dundee Street, holycow.cafe

This sister branch of the original

AILSA SHELDON EAT & DRINK TEAM

Festival time is hazy: show times are more fixed than meal times, hunger can strike at any point. I want venues that meet me where I am and offer a bit of everything, whether that’s a decent breakfast and a strong coffee, or a glass of orange wine and a plate of oysters. Depending where I am in the city, that means Ardfern on Bonnington Road (the newest opening by Roberta Hall-McCarron of The Little Chartroom), or Margot on Bruntsfield Links (from the family behind LeftField). Both have impeccable vibes, wines and small plates. Downstairs at ever-so-stylish Montrose also fits that bill, as does lunch and coffee at Ante, followed by natural wine and snacks at sibling venue Spry upstairs. I’ll also no doubt be enjoying a cold pint at The Royal Dick bar at Summerhall after a long day of shows.

Holy Cow on Elder Street serves as arts-venue café and secluded hideaway, with a 100% vegan menu. There’s a sense of calm and dignity emanating from the old brick walls, hung with quality artwork, with hot drinks, cakes, smoothies, soup and salads served alongside pricier main dishes and an all-day breakfast selection.

Hula 94a Fountainbridge, hula.co.uk

Hula offers a healthy brunch that doesn’t skimp on flavour. From smoothie bowls to loaded pancakes to full breakfasts, portion sizes are generous and worth the wait when it’s busy. The café is bright and colourful with a tropical vibe and plenty of seating, including a few hanging chairs in the corner. A perfect spot for meeting family or friends.

Lovecrumbs

155 West Port, lovecrumbs.co.uk

Big windows, plenty of plants and strings of lights make this café a delightful spot to while away an hour or two. Foamy lattes are topped with leafy artwork and there’s a brunch menu of classic smashed avo toast and eggs. But the highlight is the selection of home-baked cakes that could easily grace the opening titles of Great British Bake Off.

Throat Punch Coffee

30 Dalry Road, throatpunch.co.uk

If the coffee-making paraphernalia for sale doesn’t give away Throat Punch’s obsession with the perfect brew, then the hand-roasted beans and selection of ways to order your caffeine hit should do it. Aeropress, hand-poured and the good old espresso machine are all on the cards and the focus is on bigflavoured, strong blends.

RESTAURANTS

Bentoya

13 Bread Street, bentoya-edinburgh.com

Lightwood Japanese zen successfully clashes with J-pop tunes at Bentoya and the food is a fusion of classic sushi with

Sen Viet

BREAKFAST, BRUNCH AND BAKES

You’re going to need a lot of energy to fuel you for the day ahead, so whether you’re after a full-on sit-down brunch or just a pastry for the road, here are our top spots for a hearty start

DISHOOM

3a St Andrew Square, dishoom.com/edinburgh

Many have tried to copy what is, after all, simply a naan wrapped around some breakfast bits. But Dishoom remains unbeatable: a bacon naan roll with bottomless chai is the definition of happiness.

GREENWOODS

61 Frederick Street, greenwoods.eu

All the way from the Netherlands, this café is slap-bang in the middle of town and serves brunch all day long. From the full Scottish to kimchi benny, it’s all fast, filling and tasty.

HONEYCOMB & CO

1 Merchiston Place, honeycombandco.com

Sunshine pours in through the picture windows of this bright, busy Bruntsfield café where breakfast is served until noon and all day at the weekend. Leave room for the home baking though.

LANNAN BAKERY

29–35 Hamilton Place, instagram.com/lannanbakery

Darcie Maher’s corner bakery has had tongues wagging ever since opening last summer and it’s easy to see why. Get there early. There will be a line. Things will sell out. It will be worth it though.

PABLO-EGGS-GO-BAO

62 Inverleith Row, eggsgobao.com

Takeaway only spot, where the egg yolks (and jokes) are golden and the hash browns are life.

experimental twists, plus ramen, udon and donburi. Lacquerware boxes packed with tempura, katsu or sashimi are surprisingly filling and an ideal fast snack between shows. It’s a compact spot, so reservations are essential.

Chizuru Tei

278 Morrison Street, chizurutei.co.uk

Maybe it’s the unassuming décor that keeps this spot off-radar, but it’s undoubtedly a bonus that (possibly) the best sushi in Edinburgh remains a bit of a secret. The fish is so fresh it could have come from Tokyo’s Tsukiji market that morning, while bento boxes, variety platters and a small corkage charge for BYOB keeps the bill pleasingly low.

Don @ Tokyo

165 Lothian Road, don-tokyo.com

This former bank on Lothian Road has been turned into a flashy Japanese restaurant with oodles of space. The sushi selection featuring soft-shell crab and all the classics are nice and fresh. But the highlight is the fast and filling donburi dishes; rice bowls topped with meat and egg. There’s a wide choice of cocktails and drinks too.

Dulse 17 Queensferry Street, dulse.co.uk

Laugh in the face of your hangover. There’s a second branch in Morningside too.

ROOM & RUMOURS COFFEE

27 East Market Street, instagram.com/ roomrumourscoffee

This pretty, pocket-sized coffee shop focuses on doughnuts, buns and savoury scones. The doughnuts are feather-light and come chock-full of delicious fillings like lemon and lavender.

SCRAN BISTRO

7–9 North Bridge Arcade, scranbistro.com

With tables spilling into the pavements, Scran Bistro has pretty much taken over the North Bridge Arcade with its blend of all-day breakfast, casual dining and cocktails. Less boujie than some other brunch spots and all the better for it.

TOAST

65 The Shore, toastleith.co.uk

A lovely spot for a moment of calm before the rigours of your festival day. Start the morning right with avo toast, a range of eggs benny or smoked haddock and pak choi on sourdough.

URBAN ANGEL

121 Hanover Street, urban-angel.co.uk

A charming central basement café that does a roaring trade in brunch, which is available all day. There’s a focus on Scottish ingredients, staff are lovely, and there’s even a wee secret garden.

The traditional cry of ‘irasshaimase!’ greets you as you step into this joint, styling itself on a Japanese izakaya (pub). Fittingly, dishes mirror late-night dining in Tokyo, like rice bowls topped with eel, or slow-cooked pork, heavy on the sauce. Plus, there’s an array of beer snack-style kushiyaki (everything grilled on a stick) to accompany the vast selection of sake.

Kanpai

8–10 Grindlay Street, kanpaisushiedinburgh.co.uk

Expect beautifully prepared and plated maki, nigiri and tempura at this serene spot. The dragon roll with tempura king prawns, avocado, cucumber and tobiko roe is a mustorder. There isn’t a pre-theatre deal but early opening and proximity to the Lyceum, Usher Hall and Traverse make it a shoo-in for before-show food.

The Palmerston 1 Palmerston Place, thepalmerstonedinburgh.co.uk

Dean Banks’ second Edinburgh restaurant moves away from the formal fine dining he offers across the road at The Pompadour towards something more casual. The menu is mostly based around small plates and seafood is king. Start with oysters, then move onto trout pastrami. Prices are on the high side but the set-lunch is good value.

Fava Greek Kitchen

248 Morrison Street, favarestaurant.co.uk

This airy spot does a roaring trade, particularly with larger groups who appreciate its crowd-pleasing options. There’s an extensive mezze offering, including plenty of veggie options, while the streetfood selection majors on wraps and great-value gyros. They’ve taken the trouble to source Greek wines and the kids’ menu is healthy and fun.

Forage & Chatter

1a Alva Street, forageandchatter.com

Don’t let the tartan touches put you off; this restaurant isn’t a tourist trap. It’s a neighbourhood haunt with dark walls and exposed stonework where foraged ingredients are key to each dish. Think wood sorrel, wild garlic and an array of earthy mushrooms to complement rose-pink lamb loin and golden-singed cod: it’s no surprise this place has won awards.

Hope Izakaya

40–41 Queensferry Street, hopeomurisu-izakaya.com

The beautiful bones of a former bank, a daily changing menu, in-house baker and an instinctive understanding of what people actually want to eat means The Palmerston is well worth its place on your Edinburgh list of should-know locations for long lunches and proper dining. Expect careful sourcing across veg, salad, game, fish and an atmosphere that draws you in.

Sen Viet Vegan

23a Brougham Place, instagram.com/senvietvegan

Sen Viet Vegan’s unctuous hotpots show plant-based doesn’t have to lack depth or flavour. Tingly, fresh papaya salads and filling coconut curries served in stone bowls leave your tastebuds tickled, and the desserts feel like experimentation gone right. Deep-fried ice-cream and mango spring rolls are a delightfully indulgent way to end a meal with a traditional Vietnamese coffee.

Sofia's Lounge

166 Fountainbridge, facebook.com/sofiafountainbridge

There’s a business-lunch vibe to the velvet-chaired, wall-of-glass interior of Sofia’s Lounge. Tender lamb dishes laden with hummus or labneh are the stand-outs of the mezze selection and offerings from the grill come charred just right and flavoured with cumin, cardamom and cloves. There’s an excellent selection of cocktails, with tempting milkshakes and smoothies for those abstaining.

Vietnam House 3 Grove Street, vietnamhouserestaurant.co.uk

Spicy, soupy bowls of bún bò Huế and fresh summer rolls cover the spectrum of Vietnamese cuisine at this cosy restaurant. It’s a small spot (the toilet is right next to the dishwashing area) and booking a table is essential. BYOB or sip a hot lotus tea.

Scran Bistro

JOHNSTONTERRACE

around edinburgh university

GRASSMARKET

GEORGE IV BRIDGE

COWGATE CHAMBERSST LAWNMARKET

SOUTH BRIDGE POTTERROW CANDLEMAKERROW

LAURISTON PL

NIGHTINGALE WAY

SIMPSON LOAN

FORREST RD BRISTOPL

GEORGE SQUARE

Historic, atmospheric and stunningly beautiful, narrow wynds and mysterious closes twist around the Old Town. It’s a UNESCO World Heritage Site in its own right and, for many, the heart and soul of the Fringe action: you could stay here all August and not feel short-changed. Teviot Row House's refurbishment means it's out of play this year, but the Book Festival's move to the shiny new Edinburgh Futures Institute means there's still plenty to explore. In fact, there's a venue in every corner, most with their own pop-up bars and kitchens: George Square Gardens are a good spot to head for if you want a break between shows.

The High Street can be tourist-trap-central at the best of times so choose carefully. Cannonball Restaurant & Bar (Castlehill), Angels With Bagpipes (High Street) and Howies Restaurant (Victoria Street) successfully navigate the path of serving food based around Scotland’s larder, without turning to cliché. The Devil’s Advocate on Advocate’s Close (be ready to get your steps in) is another solid choice for whisky and food. If you’re heading to Dance Base, Bertie’s Proper Fish & Chips on Victoria Street does exactly what it says on the tin, and with speed; Petit Paris has a huge outdoor terrace and straightforward, credible French food; and Mary’s Milk Bar is very definitely worth the hype and the queue-time if you fancy an ice-cream. You’ll also find Civerinos branches in Hunter Square and Forrest Road, both recommended for a slice and a beer.

BARS

Cold Town House

4 Grassmarket, coldtownhouse.co.uk

Pub views don’t come better than this. Perched high above Grassmarket (and practically next door to Dance Base), Cold Town House’s roof terrace offers cocktails, their own ice-cold beer, hot pizza and loaded fries, with unfettered views of the castle. Incredibly popular when the sun shines, this is one to book ahead.

The Dagda Bar 93–95 Buccleuch Street, facebook.com/thedagdabar

Real ales that need a bit of muscle to pour and a shimmering collection of single malts mean this stalwart on Buccleuch Street still feels like a proper pub. Dark wood features and big Dickensian-vibe windows set the tone. It’s a spot for an atmospheric pre-show drink (they don’t do food).

Paradise Palms

41 Lothian Street, theparadisepalms.com

A lively bar that doesn’t take itself too seriously, Paradise Palms is quite simply great fun. Food (by

MY PICKS

KEVIN FULLERTON ONLINE NEWS EDITOR

I’m a slave to saag, a masala maniac, a dhansak devotee . . . you get the idea. Chennai’s Marina gives a reliable fix, a fusion of Indian and Sri Lankan dishes offering heavy spices and fulsome flavour. The service can be politely called erratic, but dishes like the gobi Manchurian and Kadala curry are a must-eat for any certifiable hotheads. Solti goes the extra mile, a family-run mainstay with classic curries and a dynamic array of vegan options. Try one of the subtly flavoured naans (the black truffle option is a favourite), which pair well with almost everything on the diverse menu. The Pakora Bar started as a small-time takeaway more than a decade ago before graduating to a plush restaurant near the Holyrood Parliament. Aside from the food (all of which is superlative), the topper is the staff; you’ll feel like one of the family from the moment you enter this warm, open space.

Lucky Pig) is all veggie/mostly vegan, and they do a mean French Martini too (underrated skill). Laidback and LGBTQ friendly, it’s one of those places where you can pop in for lunch and find yourself still there at last orders.

Sandy Bell's 25 Forrest Road, sandybells.com

During August, when every man and their dog put on a show in their front room, remember bars like Sandy Bell's who support live folk music sessions every single day of the year, come rain, shine or tourist crowds. A traditional bar much prized by locals, look out for their unbeatably priced malt of the month.

Under The Stairs

3a Merchant Street, underthestairs.org

It’s easy to miss the entrance to this homely, shabby-chic bar, but that would be a mistake. Under The Stairs somehow manages to pull off a neighbourhood bar feel in the middle of tourist-central, with good cocktails, a compact but refined wine list, interesting menu and some of the city’s friendliest staff.

CAFES AND CASUAL BITES

Alandas

1 Forrest Road, alandas.co.uk

An East Lothian success story, Alandas serves generous scoops of homemade creamy gelato and sorbet from this sunny corner of Forrest Road. Flavours change regularly but look out for Piedmont hazelnut, raspberry ripple and alphonso mango sorbet. You’ll often need to queue but the scoopers are efficient so you won’t wait too long. Takeaway only.

Bowls

13 Forrest Road, bowls-eats.co.uk

Poke bowls are fresh, fast and filling: ideal festival food. The Korean poke here has a generous scoop of sushi rice with kimchi, seaweed salad, cucumber, radish and moreish crispy onions. The classic poke bowl with salmon, tofu and edamame is excellent too. On a cold day, the Japanese curry bowls are a tasty alternative. Sit-in or takeaway.

Cult Coffee

104 Buccleuch Street, cultcoffeeroasters.com

If the exposed brickwork and industrial-chic vibes don’t hint at this coffee shop’s hipster status, the coffee paraphernalia for sale might offer another clue. It’s a wee warren of rooms inside, with laptop-friendly bars tucked away downstairs and bags of their hand-roasted coffee on display to take away. Plenty of tempting sweet treats provide sustenance for caffeine fiends.

TAKE A WANDER THROUGH . . . STOCKBRIDGE

Marking the end of the New Town, trendy Stockbridge is a mecca for good eating and drinking that’s just a smidge off the beaten track of the

EÒRNA RESTAURANT

68 Hamilton Place, eornarestaurant.com

A single table clusters around the chef and sommelier, who serve a single menu focused on Scottish ingredients. It’s an intriguing way to spend an evening.

KENJI SUSHI 24 Deanhaugh Street, kenjisushi.com

Tucked into a basement, little Kenji makes the most of its subterranean surroundings with dark walls, cute room dividers and a big menu that hits a lot of bases: sea-fresh sushi, noodles and tempura.

THE LAST WORD SALOON 44 St Stephen Street, lastwordsaloon.com

Intimate cocktail bar where curated concoctions are sipped by candlelight puts the perfect full stop on the evening. Open later than average; good whisky list too.

NOK’S KITCHEN 8 Gloucester Street, nokskitchen.co.uk

It’s hard to walk past the warm glow of this casual Thai’s windows without a pang of envy. An enticing scent of lemongrass and cinnamon drifts out as happy diners tuck into fragrant red curries and zesty pad Thai.

THE PASTRY SECTION 86 Raeburn Place, pastrysection.com

The stripped-back interior lets the cake display do the talking, and

we like what it’s saying. Brownies, cinnamon buns, meringues and big fat cookies make regular appearances and it’s all good.

PURSLANE RESTAURANT

33a St Stephen Street, purslanerestaurant.co.uk

Purslane has the quiet confidence of a place that’s been wowing diners for years with their Scottish/French fusion tasting menu. An Edinburgh institution for good reason.

THE RAG DOLL BAR 4–6 Dean Street, theragdollbar.co.uk

They’ve revived an old name for this newish bar (so don’t get the fear if you Google it). The new iteration has a warm welcome, cocktails and food based around bar nibbles and charcuterie boards.

SKUA

49 St Stephen Street, skua.scot

This basement joint has worked through a few personality tweaks since opening, but has settled into small plates that are big on flavour, excellent house cocktails and an edgy vibe leaning into its dark basement location.

SÖDERBERG STOCKBRIDGE 3 Deanhaugh Street, soderberg.uk

There are a few Söderberg branches dotted around town. This one keeps the good people of Stockbridge stocked up on hearty sandwiches, cinnamon buns and good strong coffee.

Festival busyness. Here’s where to eat

Eòrna

Dai Pai 95–97 Nicolson Street, facebook.com/daipaiedinburgh

Dai Pai’s street food-style menu takes inspiration from the mix and meld of food cultures in Hong Kong. Dishes include ramen and thick udon noodles, Hong Kong roast char siu rice, gyoza, sushi and bao buns. Sushirritos (yep, sushi burritos) are the most popular on-the-go option. Don’t knock it ’til you’ve tried it.

Lady & The Bear 1 Hope Park Terrace, ladyandthebear.co.uk

A bright corner café with a sunny menu to match, Lady & The Bear serves generous Greek and Mediterranean-style dishes with a commitment to organic and fairtrade ingredients. Order big Greek salads, koulouri buns stuffed with mozzarella and prosciutto, and shiny cinnamon tsoureki buns. The hot chocolate menu is extreme, but excellent.

The Milkman Coffee 7 & 52 Cockburn Street, themilkman.coffee

If you like moody arty interiors, specialty coffee and pastries, you’ll love The Milkman. They have an atmospheric café at either end of historic Cockburn Street; both have stripped-back walls, knowledgeable friendly baristas and great peoplewatching potential if you manage to bag a seat. The carefully sourced coffees change frequently, so there’s usually something new and delicious to try.

The Wall Coffee And Design House 45 Cockburn Street, thewallcoffee.com

Cockburn Street is great for people-watching, and The Wall thoughtfully provides tonnes of greenery inside to hide behind

pairs so work well for sharing (with plenty of napkins).

Ikigai Ramen 29–30 South Bridge, ikigairamen.co.uk

With restaurants on South Bridge and Nicolson Street, it’s always worth trying to get a walk-in table at Ikigai (no bookings). The specialty is steaming bowls of ramen in slow-cooked rich dashi and the tantanmen has a brilliant spicy kick, perfect with a cold Asahi beer. New on the menu are Japanese and Highland Wagyu burgers with wasabi.

Kim’s Mini Meals

5 Buccleuch Street, facebook.com/mrkimsfamily

No bookings and no takeaway here; just show up, queue up and eat up some of the best bibimbap in town, served in sizzling stone bowls and topped with a raw egg, as it should be. This family-style joint makes you feel like you’re eating in someone’s front room and that’s very much part of the charm.

the menu when it says noodles are Sichuan-level spicy, and order them anyway, for a huge mouth-tingling bowl of delicious chewy noodles, with meat or tofu, peanuts and mushrooms.

Sichuan House

37–39 George IV Bridge

This buzzing Chinese restaurant is often packed, the windows steamed up by delicious spicy hotpot simmering on tables. The menu is broad, including Sichuan, Hunan and northern Chinese dishes, with plenty designed to share. A hot and sour soup has plenty of slowcooked depth, enriched with golden needle mushrooms and soft tofu. Dumplings are handmade, pleasingly chewy and generously filled.

Ting Thai Caravan

8–9 Teviot Place, tingthai.co.uk

while you’re doing it. Or be blatant and grab a sunny table outside. Either way, this is a pretty place with a broad menu of toasties, salads and bagels and a pictureperfect display of cakes.

RESTAURANTS

El Cartel Mexicana 15–16 Teviot Place, elcartelmexicana.co.uk

The music is loud, the tacos big and messy and the Margs are icy cold; El Cartel is a great spot for a filling bite to eat between shows. The décor is vibrant and the staff are good fun, too. Tacos come in

The Outsider

15–16 George IV Bridge, theoutsiderrestaurant.com

It’s not easy being an Edinburgh institution; The Outsider manages it with aplomb thanks to its cracking lunch deal, contemporary space, witty wine list and a menu that feels modern, without mistaking trends for flavour. When a flat iron steak and glass of wine is what you need, this is where you want to be.

Rice Noodle Bar

11 South College Street

This unassuming restaurant has a simple menu, no social presence or website and only takes cash. It is, however, home to some of the best Chinese food in the city. Believe

Vibrant Thai flavours get people queuing year-round here, but you rarely wait long. Green curry with chicken and aubergine has the perfect balance of lime, chilli and coconut milk to be addictive without being overpowering. Pad Thai hits the right notes too: chewy rice noodles and sweet juicy prawns zingy with tamarind and lime. When sitting-in, food still comes in takeaway boxes, but you won’t care.

Umi

12–14 Chapel Street, umiedinburgh.com

This dazzling little Japanese restaurant serves fresh sushi, tempura and beautiful bowls of ramen. Sushi rolls with tempura prawn and avocado are delicious topped with crunchy onions. Yasai ramen has a rich soy-milk broth with shimeji mushrooms and tofu, and nasu dengaku is a gorgeous side dish: rich buttery aubergine with a sweet miso glaze.

Bowls

around the pleasance

SOUTH BRIDGE ROXBURGHPL DRUMMONDST WRICHMONDST HILLPL EADAMST

PLEASANCE

CANONGATE COWGATE

QUEEN’S DR

HOLYROODRD HOLYROOD GAIT

You do sometimes wonder what the Fringe’s founding folks would say if they travelled all the way forward in time from 1947 to The Pleasance courtyard today, where every available inch of space is given over to performance venues and food and drink outlets. A perfect microcosm of the madness, it’s a glorious spot for a people-watching pit-stop. Exiting the double doors puts you right in the middle of the lower half of the Old Town; Arthur’s Seat is at your back if you want to blow away the cobwebs, head up St Mary’s Street to rejoin the throng, or towards Newington for student eats. Soul Vegan is directly across the road from the courtyard, with a 100% plant-based menu of laksa, curries and the like (it’s a sister restaurant of Malaysian favourite Kampong Ah Lee on South Clerk Street), while student standby BBL serves breakfast, brunch and lunch as well as carrying its own range of vegan deli items.

Heading back towards the Royal Mile brings you to Three Blind Mice, a new-ish pizzeria with pleasant surroundings that makes it worth lingering a while, or head down Canongate for Wedgwood The Restaurant and some of the classiest cooking in town. Turning down New Street brings you back to the train station via Loudons, a buzzy brunch stop. Alternatively, a short stroll south will take you to The Holyrood Distillery, where they have fun tours and tastings; continue the theme at nearby laid-back whisky bar Tipsy Midgie.

BARS

Brass Monkey

14 Drummond Street, brassmonkeyedinburgh.co.uk

A relaxed student-friendly pub with a good beer list including real ales, The Brass Monkey hosts regular pub quizzes, events and has a cosy lounging back-room for daily film screenings. During the festival, films are swapped for stand-up as part of the Free Fringe; just drop in and see what’s on. No food.

The High Dive

81–85 St. Leonard’s Street, kaptainkaraage.co.uk

This colourful pub with striking swirled-pink bar and mirrored walls is run by Japanese streetfood lovers, Kaptain Karaage. Pair a Japanese 75 (sake, prosecco and cherry blossom syrup) with a vegetable-packed okonomiyaki (savoury Japanese pancake), triplefried karaage chicken or Japanese fusion pizzas. Or if a cold pint with loaded fries is more your vibe, that’s cool. Anything goes.

The Holyrood 9A 9a Holyrood Road, theholyrood.co.uk

MY PICKS

DONALD REID

EAT & DRINK PROJECT EDITOR

I love meeting visiting friends off a train at Waverley, suggesting a drink at The Devil's Advocate, then watching their disorientation as, within minutes, we're in a buzzy place that's both old and new, difficult to find and within touching distance of all the action. Also in the category of ‘close to things yet away from them’ is Söderberg Pavilion: good for coffee and a bun or beer and decent pizza, it helps you imagine Quartermile as a zone of Nordic calm and sophistication. It's fun to be adventurous with the street food around Assembly George Square, but it's still important to carve out a bit of time and space to eat well. That’s why places like Contini George Street are important to know: it’s reliable, reassuring and restorative. A decent plate of food once a day is a key part of any Festival survival strategy.

Beers from five top Scottish breweries are kept permanently on tap here, with interesting global options on rotation. All beers are offered as a third, a half, a sixth and a pint so you can sample plenty without getting silly. Whisky flights and cocktails are available too, plus a decent wine list. Big ‘two-handed’ burgers will keep you well fed.

Salt Horse

57–61 Blackfriars Street, salthorse.beer

Salt Horse is all about craft beer with 14 draught lines and 210 different cans and bottles. Choosing isn’t easy but staff are helpful and well-informed. There’s a small, well-curated wine and spirits list, a burger-based bar menu (with a couple of vegan options) and the cutest secret beer garden too.

The Waverley Bar 3–5 St Mary's Street, waverleybar.co.uk

It’s creaky, dark and only has three taps: Tennent’s, Best and Guinness. The Waverley has watched every pub trend from gilded kitsch to Scandi-chic and said ‘no ta’. But they know their whisky and there’s a great selection of gin alongside bottled craft beers. If there isn’t a live jam session or whisky tasting happening, you’re pretty much guaranteed a seat.

Zero/Zero

18 South Clerk Street, zerozerowines.co.uk

Tunes via the record player and

lights turned down low give this little spot on South Clerk Street an intimate feel. The wine list is all natural, with a big selection of orange wine. Charcuterie boards of oozing brie and cured meats come courtesy of local heroes IJ Mellis and East Coast Cured.

CAFES AND CASUAL BITES

The Edinburgh Larder 15 Blackfriars Street, edinburghlarder.co.uk

If it’s not local, in season or the very best Scottish produce, then it’s not on The Edinburgh Larder’s menu. Breakfast is served all day, with hazelnut and blueberry waffles, hash browns with cold-smoked sea trout, and a full Scottish breakfast on the menu. Soup, salads and sandwiches are added to the mix at noon.

Rocksalt Café 10 Jeffrey Street, facebook.com/ rocksalt.jemo

It’s always brunch time at Rocksalt: flaky pastries, loaded eggs benny, stacks of fluffy pancakes and avo halloumi toast are the menu’s mainstay, moving into big burgers or mac and cheese come lunchtime. A second spot in Leith’s Constitution Street is also a great sunny coffee stop.

Santu Coffee Bar 126 Canongate, santucoffee.com

Blink and you’ll miss this little coffee shop near the Scottish Parliament, but it’s worth seeking out for some of the best coffee in the Old Town. Exclusively sourced from small family-run plantations in Brazil and then roasted in Edinburgh, Santu coffee is speciality grade and delicious. Cakes and pastries are top-notch too (try the lemon tart).

RESTAURANTS

The Black Grape 240 Canongate, theblackgrape.co.uk

With oysters, sausage rolls and a strong small-plates game, The Black Grape is a lovely spot for a glass of wine and a bite to eat. Hot fried snacks are a favourite: try crab arancini with seafood bisque and aioli, or blue cheese croquettes. The cocktails are on the sweeter side, and the wine list nicely varied.

Blonde

75 St Leonard’s Street, blonderestaurant.co.uk

Blonde has been a set-menu stalwart since 2000, with many loyal returning customers. What it does, it does very well: seasonal menus, generous portions of fish, meat and vegetarian dishes, followed by rib-sticking puddings for a very fair price. Think lamb and harissa meatballs with linguine, or trout with a spelt and barley risotto, with flourless chocolate cake for afters.

The Black Grape

Pickles Of Broughton Street

TAKE A WANDER DOWN . . . BROUGHTON STREET

It’s just one wee street, but it’s home to some of Edinburgh’s bestknown bars, cafés and restaurants, making a satisfying place for a food and drink crawl at any time of year

ARTISAN ROAST

57 Broughton Street, artisanroast.co.uk

It’s testament to Artisan Roast’s exceptional quality that you’ll find their beans in cafés and restaurants across town. There are a few branches, but the wood-clad original is right here on Broughton Street.

THE BASEMENT

10a–12a Broughton Street, basement-bar-edinburgh.co.uk

Generations of locals did their growing up in The Basement, and the wonder is that it still does everything so well. Think delightfully sour Margs, homemade guac and good vibes all round.

FHIOR

36 Broughton Street, fhior.com

Scott Smith’s modern Scottish kitchen takes more than a hint of inspiration from the strippedback focus of the modern Scandi movement. The food is sublime and their Saturday night mixtapes sessions are a blast.

THE KELLER TAPROOM

23–27 Broughton Street Lane, kellertaproom.com

Tucked away in a lane, a pleasant hoppy smell reminds you that The Keller is a brewery as well as a bar. Mid-century furniture and tons of plants make for a cosy vibe.

L’ESCARGOT BLEU

56 Broughton Street, lescargotbleu.co.uk

Elements of L’Escargot Bleu’s precision French menu change with the seasons, but you’re always guaranteed the finest steak tartare in Edinburgh. It’s simply reliably solid.

RUMA

39–41 Broughton Street, ruma.com

This shiny new Broughton Street bar is home to one of the largest rum collections going, which comes thoughtfully mixed into interesting cocktails or (perhaps more interestingly) for sipping.

THE OX

49–51 London Street, theoxedinburgh.com

Right at the very bottom of the street, The Ox is a good-natured spot with decent food and a stellar reputation for a cracking Sunday lunch. Dog friendly.

PICKLES OF BROUGHTON STREET

60 Broughton Street, getpickled.co.uk

Cheese, wine, pickles, charcuterie. What else do you need? That’s right, nothing. Except maybe a seat: they don’t take bookings so head up early or late.

ROLLO

14 Broughton Street, barrollo.com

Lovely little Rollo has been doing that small-plates thing since long before it was a thing. The staff are charming without fail and it’s a happy place to spend some time.

Junk

58 South Clerk Street, wearejunk. co.uk/restaurant

After winning multiple street-food accolades, Junk expanded into bricks and mortar in 2022, dishing up beautifully presented small plates and sophisticated cocktails in this narrow bar/restaurant. The dealer’s choice menu takes the hard work out of choosing, and there’s a decent early dining deal (handy for Queen’s Hall and Summerhall). They’ve got a truck down at Edinburgh Street Food too.

Kalpna 2–3 St Patrick Square, kalpnarestaurant.com

This friendly vegetarian restaurant has been a city favourite since 1975 and remains a reliable spot for a South Indian feast. The set-price lunchtime buffet is great value: load your plate with butter paneer, dahl, potato curry and fresh crispy dosa, with soft vermicelli pudding for afters. An equally good value evening set menu is perfect for groups.

Mother India’s Café 3–5 Infirmary Street, motherindia.co.uk

This tapas-style Indian restaurant has been here for years and it’s always busy (there’s often a queue). But the food is great and it’s good value. Paneer dosa is light and crisp, spiced haddock is oven baked and tender, and chana dhal is beautifully aromatic. Go with a group, or a big appetite, to maximise ordering opportunities.

The Pakora Bar 111 Holyrood Road, thepakorabar.co.uk

The Pakora Bar is family-run and lots of fun. Fresh and flavour-

packed Punjabi street-food dishes are on the menu: think crisp pakora, hearty dhals and curries. There are lots of vegetarian, vegan and glutenfree options, and lots of space; it’s a great place to go as a group.

Piggs

276 Canongate, piggswinebar.co.uk

An intimate Spanish tapas and wine bar, with sandwiches and snacks available during the day. If you fancy tapas, the triple-cooked patatas bravas are a must, and the ham croquettes and albondigas (meatballs) are excellent. Or make it easy on yourself: order a sharing platter of Spanish charcuterie and cheeses to nibble on with a glass of tempranillo.

Tanjore South Indian Restaurant

6–8 Clerk Street, tanjore.co.uk

Tanjore specialises in South Indian food and is still one of the few places in Edinburgh where you can get a dosa the size of your head. A place to go when you need the culinary equivalent of a hug from your mum, there’s nothing flash or fancy, but the welcome is warm and BYOB a steal at 50p per bottle.

White Horse

Oyster & Seafood Bar

266 Canongate, whitehorseoysterbar.co.uk

Step back in time at The White Horse: a tavern is believed to have opened on this site in 1742. Today, this sleek restaurant specialises in the freshest seafood: oysters (Carlingford, Lindisfarne and more), fishy small plates like monkfish satay and hake ceviche, and crispy tempura. Go all out with a seafood platter of lobster, scallops, clams and mussels if you’re celebrating.

White Horse Oyster & Seafood Bar

A FREE MUSIC FESTIVAL IN THE HEART OF THE CITY

16–25 AUGUST

FERRY RD N JCT ST

VICTORIAQUAY

COBURG ST COMMERCIALST

OCEANDR

TOWERST SHORE

WATER ST

BANGORRD

HENDERSON ST

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BERNARDST BALTICST

MITCHELLST

JOHN’SPL CONSTITUTION ST

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Proudly independent (it was a separate town up until 100 years ago), Leith Walk and The Shore are home to some of the best eating and drinking in the city. While some brilliant venues work hard to embrace the festivals (Leith Depot, Leith Arches and The Biscuit Factory usually have something on), the continuing restoration of Leith Theatre means you can sometimes forget the festivals exist here. That’s not to say things are quiet: it’s a bustling port with its own identity and energy, and the long-awaited arrival of the trams means getting around is easier than ever.

Starting at the top of Leith Walk, Joseph Pearce is a Scandi-influenced bar with a big outdoor space and good food; Café Renroc is just around the corner for excellent coffee and brekkie. The Walnut is a laid-back bistro for those nights where you just want to take a breath. It sits across the road from Eleanore, one of Roberta Hall-McCarron’s stable of upmarket restos. Origano does decent pizza but its best feature is a candle-lit stone room, completely undisturbed by takeaway drivers (they have a separate shop for that, and deliver to cosy wee bar Abode if you want a slice with your pint). The pretty Shore is crammed with distinguished dining choices, including Michelin-starred The Kitchin and Restaurant Martin Wishart. It’s also the home of seafood in Edinburgh: Fishers Leith, Shore Bar & Restaurant and The Ship On The Shore all line the waterfront, as do Leithers with a beer on a sunny day.

BARS

Brunswick Book Club

113 Brunswick Street, brunswickbookclub.co.uk

When the sun shines, Brunswick Book Club has a spacious outdoor terrace to soak up the rays, and there’s a cosy library-inspired interior when it doesn’t. Part of the Vittoria group, this new café/bar serves a hearty brunch until five, with full fry-ups, rosti and waffles ready to set you up for the day, whatever time that may start.

The Lioness Of Leith 21–25 Duke Street, thelionessofleith.co.uk

The Lioness is a brilliant neighbourhood bar, whether you’re after a quiet afternoon pint, a slap-up burger meal or late-night Margaritas. Old arcade games and neon art add to the vibe, with candles flickering on stripped-wood tables. If you’re hungry, choose from 19 different burgers (including six veggie options) with fries.

Nauticus

142 Duke Street, nauticusbar.co.uk

A dark and sultry spot even in the daytime, Nauticus is unapologetically sophisticated: no screens or gimmicks, just really good cocktails and a wall of whisky. Drinks are inspired by Leith’s maritime trading history, from spice routes to the whisky boom, with a real commitment to championing Scottish producers. It’s worth charting a course here.

Nobles

44a Constitution Street, noblesbarleith.co.uk

Leith’s rich nautical history is celebrated in this beautifully restored Victorian bar. There’s always a good range of local beers on tap, the cocktails are great and the bar food is restaurant-level or better. Burgers are popular: choose from beef, buttermilk chicken, venison or gochujang tofu. Brunch

(Friday–Sunday) is well worth booking a table for.

Port Of Leith Distillery Bar

11 Whisky Quay, leithdistillery.com/the-distillery-bar

A smart skyline bar above the UK’s first vertical distillery, you don’t have to go on a tour to drink here, but if you have time it’s fascinating. The views of the city and docks are outstanding; so too are the whiskies, cocktails and considered small plates. Try an experimental whisky flight, perhaps paired with a smoked haddock Scotch egg.

Roseleaf

23–24 Sandport Place, roseleaf.co.uk

Leith’s friendliest pub? It’s certainly a strong contender. The Roseleaf is a brilliant all-day hangout with a tasty and pun-tastic bar food menu. Think big burgers, truffled macaroni cheese or steak frîtes with skin-on chips. It’s a relaxed, family-friendly venue but staff will happily brew you up a potent cocktail served in a teapot.

Spry

1 Haddington Place, sprywines.co.uk

The calm minimal interior of Spry sets the scene for a relaxing visit, where the focus is on natural and organic wines by the glass. Pull up a stool at the bar or find a cosy corner. The elegant small plates on offer can be built into a five-course tasting menu if you’d like to make an evening of it.

Three Marys

63–65 Henderson Street, instagram.com/threemarysleith

With dark floral décor, stained-glass windows and plush velvet seating, Three Marys is a lot lovelier than your average city boozer. Better still, the cocktails are cracking, the local beer selection is strong and there’s frequent live music by local jazz bands. Charcuterie and cheese platters are an ideal accompaniment to an evening in this neighbourhood favourite.

CAFES AND CASUAL BITES

Ardfern

10–12 Bonnington Road, ardfern.uk

Brand new and lovely, Ardfern is an all-day café, wine bar and bottle shop. In the morning, enjoy fresh hot doughnuts or a hearty breakfast: the full vegetarian with oyster mushrooms, asparagus and home cooked beans is glorious. Later in the day, come back for a glass of wine, bar snacks or a fish finger sandwich with fries.

Ante

1b Haddington Place, instagram.com/ante_coffee

Ante is a sister business to Spry upstairs and, like its wine bar sibling, it’s cool and considered, with top-notch sourcing, a

Don’t get us wrong; nowhere is exactly quiet in August. But these places are either by the water or nature, and are worth a wee walk or train journey if you fancy exploring or just getting a bit of peace

DRIFT

Quarrel Sands, Canty Bay, North Berwick, driftalong.co.uk

Take the train to pretty North Berwick then hike out to Tantallon Castle, finishing at Drift (or jump on the bus). A converted shipping container with huge windows perched on a cliff edge, it serves brunch and lunch packed with East Lothian farm produce.

DUNE BAKERY

35b High Street, South Queensferry, instagram.com/dunebakery

Pretty South Queensferry is a tourist destination in its own right, but if you time it well you can enjoy a solitary walk along the beach, a peek at the bridges, and a Dune croissant bigger than your actual heid.

THE FISHMARKET NEWHAVEN 23a Pier Place, Newhaven, thefishmarketnewhaven.co.uk

Jump on the tram to Newhaven to see a little pier and the remains of a former fishing village. The Fishmarket has a sit-in restaurant but locals pick up fish and chips to eat outside by the sea, which is just as it should be.

THE LOOKOUT BY GARDENER’S COTTAGE

Observatory House, Calton Hill, thelookoutedinburgh.co

It’s in the heart of the city and a bit of a pull up the hill, but the views are worth it. Save a little bit of your attention for the food though; it’s equally striking.

MILK AT EDINBURGH SCULPTURE WORKSHOP

21 Hawthornvale, cafemilk.co.uk

A wee walk or cycle along the Newhaven path brings you to Milk and a sculpture gallery. There’s a compact but interesting all-day menu, or just grab a coffee and continue on your merry way.

MIRO’S ON THE PROM 25–25a Promenade, Portobello, mirosportobello.co.uk

Portobello Beach is one of the city’s ‘lungs’, a vital place for beach strolls whatever the weather. Miro’s all-day menu runs from morning until night, so there’s always something to nibble on to sustain the repeat journey.

ROGUE BROS AT THE BOATHOUSE 22 High Street, South Queensferry, theboathouse.online

Another South Queensferry stalwart, this friendly bistro has an accessible menu, a huge terrace with incredible views of the bridges and a warm welcome. Don’t miss the haggis panko bon bons.

SMITH & GERTRUDE 24 Portobello High Street, Portobello, smithandgertrude.com

Another popular Porty spot, this time for wine and cheese in sophisticated surroundings. Their flights are a lovely way to try something new and they have regular book club nights too.

THE WEE RESTAURANT 17 Main Street, North Queensferry, theweerestaurant.co.uk

Take the train over the iconic Forth Bridge to North Queensferry, then wander down the hill to this lovely wee spot where Craig and Vikki Wood understand the art of hospitality. Booking essential.

Rogue Bros At The Boathouse

Brunswick Book Club

minimalist interior, beautiful ceramics and a relaxed vibe. The short menu has only good things on it. Try the crab butter brioche, packed with white crab, pickled cabbage and celery and fermented chilli mayo: it’s incredible.

Cocorico

96 Jane Street, instagram.com/cocorico_ leith

Scotland meets France at this lively café, tucked away on an industrial estate just off Leith Walk. Portions are generous; try a deep bowl of Cullen skink, a hearty burger or quiche and salad. Leave room for (or takeaway) frangipane tarts and luscious carrot cake. Family-run and fabulously friendly, Cocorico feels like a home from home, wherever you’re from.

Hobz Bakery

106 Leith Walk, hobzbakery.com

For a sunny window seat and an outrageously large pain au chocolat, it has to be Hobz. Try the marvellous croissant buns: the toasted sesame, almond and orange one is delicious, particularly when messily dunked in a strong coffee at an outside table. Weekend specials like apricot and almond choux bun are worth planning a trip for.

Kitchen Table

22–24 Easter Road, twelvetriangles.co.uk

Twelve Triangles bakeries are dotted around the city; at their Kitchen Table, the love of good bread and local ingredients come together in a gorgeous neighbourhood café. Focaccia sandwiches are hard to beat: try one with chicken, crisp chicken skin, roast fennel and jalapeño labneh, or packed with carrot bhajis, pickles and yogurt. Basque cheesecake with berries is outrageously good.

Kuna Cafe & Bakery

1 Elm Row, instagram.com/kunacafe

A light and bright stripped-back corner café in an historic listed building: pop in for excellent coffee, cakes and sandwiches. The pies come highly recommended; try balsamic chicken, sun-dried tomato, mozzarella and basil wrapped in crisp homemade pastry. There’s always a warm welcome and the outside tables are perfect for watching the world go by.

The Old Spence

40–42 Queen Charlotte Street, theoldspencecafe.co.uk

Formerly The Hideout, this corner café has a new name, new owners and a new-and-improved menu. Bouncy focaccia sandwiches are the highlight: try smoked tofu with kimchi, or a classic mozzarella, tomato and basil. Fresh smoothies and juices are a treat, the coffee is excellent and the music is still played from cassette tapes.

Printworks

42 Constitution Street, facebook.com/printworkscoffee

Now there’s a tram stop right outside, there are even more good reasons to start your day at Printworks. The coffee is good and strong, and they do a decent simple breakfast: yoghurt with granola, fresh fruit and pistachios is a favourite. Later in the day, salads, wraps and paninis will keep you happily fuelled.

Urban Jungle Brunch Room

187–189 Leith Walk, sebsurbanjungle.co.uk

Formerly Seb’s Urban Jungle, just being in this sunny plant shop and café feels good for you. Avocado on toast is the house special, topped with rocket, feta and optional eggs or bacon. Take home a potted leafy friend, ask for plant care tips or browse arty gifts at the local makers’ market on Friday afternoons.

RESTAURANTS

Bodega 14–15 Albert Place, ilovebodega.com

Light and lovely Bodega is a vision in pastel pinks and greens. The menu has recently expanded from mostly tacos to a wider range of dishes from the grill, including barbecued pork belly, beef short rib and wedges of hispi cabbage. Crispy gurnard with barbecued peach salsa is pretty special. The Margarita menu is enticing, with good alcohol-free versions.

Mirin

9 Albert Place, mirin.uk

The noodle soups with slowcooked broths are delicious, but the real flavour bombs are on the continent-hopping small plates menu. Barbecued broccoli on creamy sweetcorn and miso custard (with chilli oil and crispy corn kernels) is outrageously good, while a mountain of sweet and spicy mackerel on crispy wonton skin is equally decadent. Mirin is small, so definitely book.

Paloma 50–54 Henderson Street, palomatacos.co.uk

Sunlight streams through the big windows at this new taco joint, and the mint-and-pink interior adds to the atmosphere. Nuggets of fried avocado make a fun filling for hand-pressed corn tacos (garlicky prawns with pico de gallo are tasty too). Sweetcorn covered in lime crema and parmesan is messy to eat but delicious, while cocktails are refreshingly different.

Pizza Geeks

126 Easter Road, pizzageeks.co.uk/easter-road

Pizza Geeks has three venues across the city and this pop up-madepermanent on Easter Road has a retro games and Blockbuster movies theme. A pizza from The Shire is

MY PICKS

PAUL MCLEAN SUBEDITOR

Festival-time is obviously exciting but getting away from the masses is my main criteria when I need refuelling in August. The Kiosk next to Collective Gallery on Calton Hill rewards you with a) the smugness of upping your step count and b) stunning 360-degree city panoramas. Weather permitting (haha), enjoy art and some calm in the gorgeous gardens behind the gallery café at Modern One. Tram it down to Leith where the lovely team behind the much-missed Mistral are back with a pop-up wine bar (Thu–Sat evenings only) at Williams & Johnson Coffee in Customs Lane. Then take the lift to the top-floor bar at Port Of Leith Distillery, a ninestorey tower on the docks with fine food and drink and thrilling views. Back in the Old Town throng, Salt Horse is my go-to: excellent beers, top burgers and a shady garden to hide from that legendary blazing August sun.

forged in an R2D2 oven and house classics are The Mario and The Luigi. Fun gimmicks aside, this is excellent Neapolitan-inspired pizza with a laid-back pub vibe.

Razzo Pizza

59 Great Junction Street, razzopizza.co.uk

Don’t ask for pineapple: the toppings at Razzo are straight outta Napoli. The small restaurant is dominated by a huge copper pizza oven and the sourdough pizzas are among the best in town. The Napoletana is hard to beat: simply crushed San Marzano tomatoes with anchovies, capers, basil and oregano. Delivery drivers buzz in and out, but you won’t care.

San Ciro's

148 Leith Walk, sanciros.com

This new pizza spot has quickly moved up the hotly contested pizza rankings in Leith. On the menu are delicious Neapolitan-style pizzas with classic toppings, and a few more out-there specials (like smoked mozzarella, bacon, pineapple and chilli jam). Share hot arancini or crisp calamari while you wait. Service is chatty and fun.

Pizza Geeks

PISTACHIO

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Internationaal Theater Amsterdam presents a visceral reinterpretation of an

festival hot shots

Fringe By The Sea has a Saturday night headline show to be proud of as indie Scots Idlewild (pictured) and Honeyblood are joined by Northern Ireland’s Ash as North Berwick prepares to have its very foundations rocked. Roll up to the Big Top on 10 August.

ancient love story for EIF. Penthesilea (Lyceum Theatre, 3–6 August) is the grungy tale of an Amazon warrior queen who falls for the wrong man on the battlefield during the Trojan War.

Comedy, dance and sport merge in Tennis (ZOO Southside, 3–25 August), the new Fringe show by Danish physical duo Don Gnu. A rough and tumble tale of finger knitting, tango wrestling and dirty tricks, it’s set during a classic Wimbledon encounter from 1980.

PICTURE: DONALD MILNE

PICTURE: EMILIA THERESA

PICTURE: FABIAN CALIS